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Speaker 1: All right, welcome to episode ninety of The Bobby Cast

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Speaker 1: In with Barry Dean. Barry, how are you good? How

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Speaker 1: are you? I'm good? I was. I had known a

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Speaker 1: lot of the stuff you'd written, but I didn't know

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Speaker 1: all the stuff you'd write. I never know all this

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Speaker 1: stuff until her like deep down dig. But before we

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Speaker 1: get into stuff, I didn't know you'd written this song

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Speaker 1: here for Ingram Michaelson girls Chase Boys, Like this song

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Speaker 1: is jam girls. She's good. She's really good. That song

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Speaker 1: is really good. And Mikey and I were talking before

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Speaker 1: you came in. I was like, he wrote that song.

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Speaker 1: It's like, I mean, I have this and like to

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Speaker 1: my playlist right now. Still, what's nice? Thank you? So

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Speaker 1: who'd you write that one? With Trent Dabs and Ingrid Michaelson.

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Speaker 1: It was Memorial Day weekend and they called said, Ingrid's

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Speaker 1: coming in the right next week, but she wants to

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Speaker 1: come in Nashville, come in early, and she writes with

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Speaker 1: Trent Dabs a lot and Katie Herzig and just lots

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Speaker 1: of great people like that, and um, they said, would

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Speaker 1: you write with her on Memorial Day weekend? And uh,

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Speaker 1: everybody else was clear and out, and uh, I come

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Speaker 1: from you know, a little town working. Yeah, I'm working person,

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Speaker 1: so you know, it must be present to win. So

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Speaker 1: so I was like, yeah, let's do it. And so

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Speaker 1: she was not feeling well and uh so she we

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Speaker 1: started a ballad kind of thing and it wasn't really

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Speaker 1: going anywhere, and so then I thought, well, let's switch

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Speaker 1: it up. And and so Trent had been layering drums

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Speaker 1: and logic and and they were flamming from like that,

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Speaker 1: and she said, played the piano. They said, you play

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Speaker 1: the piano. So I played the button button and then

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Speaker 1: she went, but da da data, and so I played

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Speaker 1: that and then you know, again she'd hold her stomach.

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Speaker 1: I think she was dealing with some esophagal things, you know.

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Speaker 1: And I was like, hey, you know, there's no country emergency.

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Speaker 1: We can write on Monday or Tuesday. No, we'll do it.

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Speaker 1: And so then I would throw lines, and I thought

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Speaker 1: she didn't like them because we didn't know each other,

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Speaker 1: you know. And there's always a weirdness too when you

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Speaker 1: don't know someone and you're being creative. It's a it's

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Speaker 1: a super vulnerable place. It takes me a minute to

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Speaker 1: get comfortable. Uh and and and so you know, we

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Speaker 1: don't know each other at all. She's you know, I'm

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Speaker 1: probably the oldest person she's written with in a long time.

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Speaker 1: And uh, she's holding her stomach. I'm wanting to take

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Speaker 1: her to a clinic and trance just you know. He's

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Speaker 1: a worker, you know, he's moving around and and he's

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Speaker 1: Mr Energy anyway. And so then, um, so I said, well,

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Speaker 1: I had this one thing about how girls chase boys

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Speaker 1: chase girls chase boys, and how it just goes around

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Speaker 1: and around and around, and I thought she didn't like it,

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Speaker 1: and so then I started I kept nervous, you know,

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Speaker 1: so I keep throwing titles. Well there's this other thing

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Speaker 1: about how all the broken hearts still work and I'm

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Speaker 1: still beating and still doing. And then she literally goes,

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Speaker 1: you mean like, oh the broken hearts in the world

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Speaker 1: still be That's not my good. That has to be

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Speaker 1: And then like a sometimes sometimes girls chesse boys chesse girls.

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Speaker 1: And I was like, yes, that is exactly what I mean,

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Speaker 1: and thinkingly, who is this woman? And she does that.

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Speaker 1: I can't do it, but that right, her voice, her

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Speaker 1: voice is like a formula one car. She can go

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Speaker 1: real high and then she can go low. She can

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Speaker 1: do all these things. And so then there was a

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Speaker 1: question of should we put words on it? And I

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Speaker 1: was like, you know, I really I kind of like

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Speaker 1: it with no words. I know my job is to

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Speaker 1: throw words at you. But on the yeah, there was

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Speaker 1: a debate on whether or not to put words there

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Speaker 1: instead of it suns at all. I can't listen, you know,

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Speaker 1: it's always you can only imagine the actor in your

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Speaker 1: favorite role being that actor. So so I can't imagine

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Speaker 1: what what would be there now. And well there was

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Speaker 1: another argument, which was and this is what took the

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Speaker 1: longest time on the song was I thought it was

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Speaker 1: the chorus, and then there was a descript you know,

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Speaker 1: there was a disagreement because there was a feeling, well, no,

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Speaker 1: that's not the chorus, that's the verse, and so we

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Speaker 1: wrote a whole another chorus that I don't remember at all.

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Speaker 1: It was not the right thing. And so then I said, well,

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Speaker 1: can we go the other way? Can we pretend that's

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Speaker 1: the chorus and it's the eighties when I was young,

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Speaker 1: and we start with a chorus. It's like a Steven

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Speaker 1: Tyler thing. I remember Steven Tyler come in and he

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Speaker 1: Steven Tyler comes in and goes, hey, man, he was like,

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Speaker 1: I'm gonna tell you. It was crazy because we were

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Speaker 1: sitting there and we're in the studio and they were

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Speaker 1: like sweet emotion. They're like, why don't we just start

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Speaker 1: with the chorus and he was like sweet and he

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Speaker 1: goes People were like what are you doing? And I'm

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Speaker 1: like trust me, And that was like, you know, sweet emotions,

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Speaker 1: trick is there ain't no trick. Yeah. It was like

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Speaker 1: we just went simple with its just simple. Yeah, just

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Speaker 1: here it is. This is about you were waiting for.

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Speaker 1: I'm gonna give it to you right up front, you

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Speaker 1: know so. And again I tell about five minutes ago

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Speaker 1: I wrote that song. And that's like, you know, I'll

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Speaker 1: be honest with you. Like the music that I play

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Speaker 1: on the radio, some of it are like some of

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Speaker 1: it don't. Some of it I'm indifferent about. Yeah, and

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Speaker 1: it just comes with and if anyone says they like

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Speaker 1: it all their line, I agree with that. But I'm

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Speaker 1: gonna tell you I love this song. Thank you. Yeah,

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Speaker 1: I was just talking. I kind of geeked out a

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Speaker 1: little b I was like, man, I'm so grateful for it.

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Speaker 1: And it was not Again, I had no idea. I

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Speaker 1: shouldn't tell the story, but I will. Uh So we

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Speaker 1: wrote a memorial day and so that fall right before

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Speaker 1: CMA week, Jinn and I went to Asheville, North Carolina.

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Speaker 1: We've never been there as my wife, and so we

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Speaker 1: were down there. Be super awkward if it wasn't my wife.

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Speaker 1: And uh, we're down there and we'd had dinner and

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Speaker 1: we may have been overserved just slightly. We're going to

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Speaker 1: where they play pianos and you all sing along this

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Speaker 1: weet Caroline, one of those things doing in Wanto Baria.

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Speaker 1: And uh so Ingrid calls, which is not a thing

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Speaker 1: that happens a lot. And she called and and again

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Speaker 1: we didn't know each other. We one day, that's it.

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Speaker 1: And then I get this note and she's, uh, can

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Speaker 1: we talk? And she said, you know, do you think

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Speaker 1: it is it too? I mean, because she does a

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Speaker 1: lot of heavy, beautiful balance that are really you know,

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Speaker 1: she she's not afraid, and so she was like, is

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Speaker 1: it too? She was saying fun, you know, meaning frivolous

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Speaker 1: I think. But I was like, well, you're the only

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Speaker 1: artist who would worry about being fun, I mean, and uh,

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Speaker 1: and she kind of laughed and she goes, well, is

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Speaker 1: girls chase boys are okay? Title? And I always say

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Speaker 1: that because I may have had some wine at dinner.

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Speaker 1: I start texting her like, you know, like Dame's love guys,

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Speaker 1: you know, chocos love Chicas. I just I mean, all

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Speaker 1: evening as I wonder, she still speaks to me, and

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Speaker 1: I'm texting her all these different ways. I was like,

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Speaker 1: you know, I think you should play it for some

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Speaker 1: fans and if they love of it, great, and if

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Speaker 1: they don't, we'll write another one. That's what I said.

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Speaker 1: I had no idea that it could be on pop

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Speaker 1: radio or be a thing at all, but it was

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Speaker 1: really wonderful. It opened up a lot of fun doors

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Speaker 1: for me. Yeah. Again, I just loved it. I mean,

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Speaker 1: this is not my air this is my airplane. Why

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Speaker 1: I love it. It's on my airplane list of songs

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Speaker 1: I go to Slate. Yeah, that's it. A little voice,

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Speaker 1: you know, it's like you know, uh, Chris Lindsay and

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Speaker 1: Amy Mayo, you know that. And so one time years

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Speaker 1: ago this song has never been recorded. Thing. I don't

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Speaker 1: remember what was called, but I was writing a song

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Speaker 1: with Chris Lindsay and we were over at Amy Land

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Speaker 1: and I can't remember the song, but there was this

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Speaker 1: part where we're like singing this thing and I didn't

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Speaker 1: know what the words were. And this was new to

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Speaker 1: me to to just sing whatever I wanted without knowing

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Speaker 1: the words. I was really um. I wrote only by

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Speaker 1: myself until I signed to a deal in Nashville, So

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Speaker 1: I literally used to write at the top of my

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Speaker 1: pad when I did co writes make a noise because

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Speaker 1: I would sit there trying to think the right answer

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Speaker 1: before I said it, and uh and and not being

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Speaker 1: willing to dare to suck and just put it out there.

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Speaker 1: And it's just hard to get used to that. Um

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Speaker 1: and so um. Anyway, I was singing something and I

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Speaker 1: went bye baby, bye bye baby. I'm letting you go,

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Speaker 1: and it makes no sense. I just sang it in

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Speaker 1: a moment, and Amy was just they're bringing coffee or something,

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Speaker 1: you know, stopping by to say hi, and she goes, sorry,

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Speaker 1: let me make this go away right here. UML no,

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Speaker 1: I wish it was. It's my brother. He's really smart,

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Speaker 1: and we have this side project we're doing and not musical,

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Speaker 1: it's a different deal and he uh, he loves project

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Speaker 1: management software and so he'll update the tasks, you know,

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Speaker 1: and the percentage that's completed and you know all that.

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Speaker 1: Unfortunately I don't know how to make it not show

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Speaker 1: on my phone, and so it keeps. He's just bing

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Speaker 1: bing bing bing bing. I'm like, so stop, it's Christmas.

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Speaker 1: But but she said, Amy was it was like sometimes

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Speaker 1: the music says it for us. And so that person

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Speaker 1: who's afraid to face their life or make a change

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Speaker 1: or tell somebody what's going on, and and that moment

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Speaker 1: she goes, you should trust that moment. Well, I didn't

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Speaker 1: even live here yet. I was still coming. I just

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Speaker 1: signed and was coming back and forth, and uh, but

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Speaker 1: that showed up in that right that day when she went, oh,

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Speaker 1: I thought that that is that thing? Is that almost

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Speaker 1: like a silence is okay in conversation type thing like

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Speaker 1: not not all silence is bad. It's funny too. You

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Speaker 1: bring out the vulnerability thing, because I think it's a

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Speaker 1: and not just in creative space. We working to creative space,

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Speaker 1: but a lot of people working group space where uh

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Speaker 1: their problem solving. You're coming up with ideas, you're afraid

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Speaker 1: to say something because you're around people that you don't

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Speaker 1: know and you don't want to but The thing that

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Speaker 1: I've learned about that is everybody else is feeling the

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Speaker 1: exact same way that the truth. And so the feeling

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Speaker 1: that I have and that you haven't working with somebody

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Speaker 1: that if I'm writing comedy or writing music and I'm like, oh,

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Speaker 1: I've never written with this person before, and I don't

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Speaker 1: want to see something stupid, They're probably feel in the

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Speaker 1: same way. They probably are. But but man, that's in

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Speaker 1: the real not outside our world. That's not a common thought,

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Speaker 1: you know. I mean, I think there's a certain element.

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Speaker 1: Uh well, I like your your new book. I know

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Speaker 1: that it's a winning through losing. Oh yeah, I wrote it.

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Speaker 1: I did a Ted talk and I'm writing a book.

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Speaker 1: I mean, there's there's that's a that's an upside down.

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Speaker 1: We write and work in an upside down world where

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Speaker 1: we get together and we're instantly gonna build a bridge

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Speaker 1: and discuss very true personal things. And I spent years

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Speaker 1: in a corporate and vine where you know, five years

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Speaker 1: in someone will mention, oh, yeah, you know some personal fact.

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Speaker 1: You know, Oh yeah, my, well you're facing some crisis

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Speaker 1: at home or we're facing some other reality. But that's

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Speaker 1: not something you talk about in a in a corporate environment.

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Speaker 1: So we're backwards, and it's weird to being in a

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Speaker 1: right or being and I gat a creative space where

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Speaker 1: you have to get vulnerable. Even for me, like I'll

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Speaker 1: say on the radio, like I'm terrible being vulnerable away

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Speaker 1: from my job a man in my job, it's I

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Speaker 1: can drop all the walls because I have to face successful.

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Speaker 1: And you, as a writer, you have to. Yeah, and

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Speaker 1: it's weird you go into somebody you don't know and

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Speaker 1: be like, Okay, let me tell you're really heart wrenching tail.

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Speaker 1: Here's what I'm wrestling with in my own life. I

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Speaker 1: was talking about therapist today about it give me a

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Speaker 1: decorp you know it is. It is kind of a backward,

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Speaker 1: but you've done so. I guess we could kind of start.

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Speaker 1: Let me just mention before I know what we'll get

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Speaker 1: around some of this stuff because I don't always like

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Speaker 1: just talking about songs specifically, but uh, you you just

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Speaker 1: see you wrote Pontoon one of the stories, and because

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Speaker 1: we've actually had the other writers into that, um, Natalie

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Speaker 1: was like, you know, you know, you know, back that

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Speaker 1: hitch up into the water. But it wasn't hitch, it

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Speaker 1: wasn't hit. Eric Passley is the one who made it hitch.

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Speaker 1: It was back that other thing. Okay, back that bitch

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Speaker 1: in the water. That's the first thing she said. You know,

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Speaker 1: looks like come on girls. She was like, we're not

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Speaker 1: doing this, come on girl, and she goes I would say,

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Speaker 1: back this bitch up into the water and we screamed

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Speaker 1: with laughter. Well, pass As, I understand it. I wasn't.

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Speaker 1: There is the one who said you should say hitch

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Speaker 1: when they need the radio at it to Natalie. So

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Speaker 1: Eric is not a writer on the song. He just

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Speaker 1: heard it and was like, hey, you should now he

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Speaker 1: just said it to me and I didn't know that

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Speaker 1: till long after, but he should. Jed Hughes played the

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Speaker 1: riff with j Joyce and that's so wonderful. And I

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Speaker 1: was watching a little big down at it Jarnity event.

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Speaker 1: We did that microphone we did a um, I didn't

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Speaker 1: do it. I went to a charity event and uh

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Speaker 1: so I live in Nashville, but I used to live

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Speaker 1: in Brentwood. Don't know what part of town you live, Well,

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Speaker 1: you know Snead Road in Hillsboro, so it's considered Franklin,

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Speaker 1: but it's not anywhere. It's really Brentwood. So okay, maybe

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Speaker 1: you'll know the house I'm talking about. It down in Brentwood.

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Speaker 1: You get off a concorde and for those that are

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Speaker 1: all over, just just just follow me on this. There's

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Speaker 1: this hum monkous house across from Governor's Club. So I

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Speaker 1: used to have a Governor's Club and I would always

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Speaker 1: see this huge Monko's house and I was like, I

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Speaker 1: don't know, like a sound of music kind of house monster.

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Speaker 1: So I went to a charity event at this house

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Speaker 1: and it's it's a couple of jewelers. They were very nice. Yes,

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Speaker 1: they're very sunglasses, very kind gentleman. I didn't get to

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Speaker 1: spend a lot of time with them because it was

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Speaker 1: it was it was a charity event for for an

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Speaker 1: Alzheimer's um event, and Kimberly Paisley was there, a mom

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Speaker 1: that was Alzheimer's and but we're there and a little

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Speaker 1: Big Town was playing and so they it was you know,

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Speaker 1: it's as I get to do things now because at

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Speaker 1: my job that I normally wouldn't get to do. And

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Speaker 1: I'm sitting there by a hundred people in the room

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Speaker 1: and there you know, playing the song and they come

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Speaker 1: out and they start playing pontoon, and all I can

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Speaker 1: think about the entire song is that hitch was changed.

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Speaker 1: Like that's all I'm telling you, the whole show, the

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Speaker 1: whole everything, and that should be like and I was.

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Speaker 1: There was an awesome event and a lot of money

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Speaker 1: was raised. All I could think it was like they

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Speaker 1: changed they change it to hits. That's all I can

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Speaker 1: ever think about. Well, it's funny is Natalie will change

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Speaker 1: it to hitch button. She'll tell the story about buying

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Speaker 1: the pontoon and won't change the word there. You're like, well,

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Speaker 1: if if you're gonna say that, you may as well

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Speaker 1: go and say it all you wrote it when she

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Speaker 1: did this show, because she came by it's about a

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Speaker 1: few months now. She was talking about how she was

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Speaker 1: buying a boat and then the song was playing. The

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Speaker 1: guy I was like, I hate this song. She just

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Speaker 1: she just said it's just kept from Outho. She wouldn't

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Speaker 1: play at it first. You know, we would play these

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Speaker 1: shows with me and Luke and Hard would play these

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Speaker 1: bluebird things and she wouldn't want to. You know, she

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Speaker 1: loves a little big town and everything. But but she

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Speaker 1: I think because it was so it's a fun light song.

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Speaker 1: Did you think that song again, because the first time

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Speaker 1: I heard it, I was like, this song is really goofy.

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Speaker 1: I thought, I said, this song is really goofy, And

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Speaker 1: I don't know if I don't know have goofy. It's

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Speaker 1: not so goofy now because we know it. It's it's

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Speaker 1: like when you you know, uh, that now is normal

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Speaker 1: to us because we've heard so many times. So Pontoon

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Speaker 1: is not that goofy to me anymore. And a lot

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Speaker 1: of it's Jay Joyce's production and Little Big Town, and

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Speaker 1: that had been cut a different way, you know, that

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Speaker 1: would have been super goofy. Could did you feel when

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Speaker 1: you finished writing it it ever had a chance to

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Speaker 1: have legs to be anything. I didn't think it would

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Speaker 1: do what it did. I thought I thought it might

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Speaker 1: get cut. Natalie and Luke were already having singles, you know,

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Speaker 1: start to take off and do things, specially Luke, and

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Speaker 1: so I thought, I mean, we started it, and it

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Speaker 1: was seven months before we finished it because we wrote

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Speaker 1: just the first little bit and then stopped and get

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Speaker 1: hung on hitch. We're like, we can't figure out what

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Speaker 1: comes after seven months. So Natalie and I only had

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Speaker 1: the things she had to do and getting our calendars

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Speaker 1: back together and all that, and then we got back together.

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Speaker 1: It was right around Luke's birthday, so she came over

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Speaker 1: and we gave up. If everybody wanted to Luke, you're

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Speaker 1: not talking about Luke Bryan, No, I'm sorry. Luke lay

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Speaker 1: over here too, That's right. So for Nuke reds Luke Lair, Yeah,

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Speaker 1: so and so he. I came home after we wrote

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Speaker 1: it and was laughing. I told my wife, I said,

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Speaker 1: you know, I don't know what to make of this thing.

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Speaker 1: It's so so funny, but you know, I don't know,

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Speaker 1: but Natalie and Luke have a lot of attention right now.

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Speaker 1: Maybe something will happen. Never occurred to me that it

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Speaker 1: would be such a big deal for me. It is

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Speaker 1: my first number one. That's a thing too, where if

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Speaker 1: you're in the room at the time with Natalie and Luke,

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Speaker 1: they're having success, they're not writing a lot of songs

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Speaker 1: that aren't at least getting looked at. That's right. So

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Speaker 1: you know in that room that what you write at

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Speaker 1: least is going to get a bigger look than if

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Speaker 1: you're writing with a couple of other writers who weren't

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Speaker 1: as hot at the night. That's right. Oh yeah, no question.

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Speaker 1: And if Luke and Natalie we're here, they'd be horrified

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00:17:02,600 --> 00:17:04,680
Speaker 1: by this whole conversation. But you and I know it's

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00:17:04,720 --> 00:17:08,200
Speaker 1: absolutely true. Of course you're in the room with Rodney Claus.

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Speaker 1: And there's a pretty good chance to people are gonna

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Speaker 1: listen to Rodney Claus to Rodney song. Yeah, they might

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Speaker 1: want to take a listen to that. Yeah, and uh

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Speaker 1: and I think that's a pretty good deal. It's funny

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Speaker 1: to have three people talking about this song because we've

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Speaker 1: got three different three of the same stories, but all

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Speaker 1: from a different slightly different A. Yeah, we did a

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Speaker 1: c M A thing um and they we on tape,

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Speaker 1: you know, and they interviewed us over at sound Aporium,

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Speaker 1: and when we left, you know, we just nodded. And

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Speaker 1: when we left, I said to Natalie and Luke, hey,

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Speaker 1: before we go, we know that's not what really happened, right,

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Speaker 1: It's like stories before you get pulled in. Here's how

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Speaker 1: the bank was robbed. Remember, stick to the story. Here's

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Speaker 1: what we did, right, right? Is that what we do?

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Speaker 1: It's like the movie like say the number back out loud,

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Speaker 1: say this real loud. So okay, okay, there's a lot

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Speaker 1: of that. There's a lot of that. And sometimes you'll

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Speaker 1: think something and then it's not who, um, pontoon? Whose

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00:18:09,320 --> 00:18:12,160
Speaker 1: idea was that? You remember? Like the initial idea? Well,

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Speaker 1: I thought that the Natalie said it. Natalie said the

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Speaker 1: word pontoon and um and Luke and I heard it

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Speaker 1: fly across the room and I started googling instantly pontoons

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Speaker 1: song and just to see, you know what it said.

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Speaker 1: And uh, and there weren't any other pontoon. So like

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Speaker 1: that's the thing, right, You have to make sure sometimes

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Speaker 1: you know, it's one thing if it's like I love you,

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Speaker 1: but if it's something that I mean, the nineties happened,

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Speaker 1: So pontoon seemed like, I mean, there's a watermelon crawl,

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Speaker 1: so there may be a pontoon out there, you know,

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Speaker 1: and I want to know about it. And uh. And again,

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Speaker 1: when I'm in a room with somebody like Natalie, who's

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Speaker 1: so talented and Luke, who is so good at what

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Speaker 1: he does, I don't want to waste that day, you know,

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Speaker 1: I don't want to waste any day actually, and so um,

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Speaker 1: so I just googled it and then I looked at

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Speaker 1: Luke and we're clear and he started playing that groove.

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Speaker 1: And now did Natalie have it in mind before she

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Speaker 1: came in. Maybe she did, maybe she didn't. She was

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Speaker 1: telling another story about their song called Fine Tune, which

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Speaker 1: is on Mirando's fourth record, and Um, somebody had misheard

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Speaker 1: the title and said, oh, what's that song pontoon? And

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Speaker 1: so anyway, however it happened, we started it, and then

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Speaker 1: about seven months later we finally finished it. They played

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Speaker 1: it for Dirks and he didn't like it, and they

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00:19:26,119 --> 00:19:30,359
Speaker 1: played it for um Kicks Brooks Brooks and done it

386
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Speaker 1: just parted ways and so Kicks and a nice email

387
00:19:33,800 --> 00:19:35,359
Speaker 1: saying he thought it was hilarious, but he would not

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Speaker 1: record it. And then that was really the end. And

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Speaker 1: then when Creative Nation started, which is Beth and Luke

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Speaker 1: and I'm I'm over there. Um, first week, first meeting

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Speaker 1: Bets at her kitchen table, she goes, I'm going over

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Speaker 1: to play songs for Jason for a little big town

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Speaker 1: and I think I'm gonna play there their manager and um,

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Speaker 1: and she goes, how do you feel about pontoon? I

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Speaker 1: was like, that's a great idea, and so that was

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Speaker 1: what she played. And then after that it was real

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Speaker 1: that's really Jason in a little big town and j

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Speaker 1: Joyce and Jed Hughes on the lick, and I mean

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Speaker 1: we were a pretty amazed where it went. I get that.

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Speaker 1: There you go, pontoon. Alright, let me talk about Blue

401
00:20:21,240 --> 00:20:23,440
Speaker 1: Apron for just a second. Okay, So here we go.

402
00:20:24,200 --> 00:20:26,679
Speaker 1: I use Blue Apron, and I'm able to make things like,

403
00:20:26,760 --> 00:20:28,720
Speaker 1: let's see what did I make to the day, some

404
00:20:28,960 --> 00:20:33,280
Speaker 1: butternuts squash pasta with kale and brown butter walnuts. Never

405
00:20:33,320 --> 00:20:34,760
Speaker 1: in my life would I'd be able to make that.

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00:20:34,880 --> 00:20:38,760
Speaker 1: I'm barely say it. Butternut squashed pasta with kale and

407
00:20:38,800 --> 00:20:40,879
Speaker 1: brown butter walnuts. I brought that up, he roaded down,

408
00:20:40,880 --> 00:20:43,080
Speaker 1: so I wouldn't forget. But I like Blue Apron because

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00:20:43,080 --> 00:20:46,400
Speaker 1: it comes right to my door. It's already preportioned. There's

410
00:20:46,400 --> 00:20:48,199
Speaker 1: a car that tells me exactly how to make it.

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00:20:48,280 --> 00:20:50,880
Speaker 1: So you the husband, the wife, the kids. I don't

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00:20:50,880 --> 00:20:53,520
Speaker 1: know you can make enough for everybody right now. Blue

413
00:20:53,560 --> 00:20:56,040
Speaker 1: Apron is treating everybody that listens to the Bobby Cast

414
00:20:56,200 --> 00:20:58,800
Speaker 1: the first dinner for free or whenever you want to

415
00:20:58,800 --> 00:21:01,399
Speaker 1: cook it. I guess weren't rules a thirty dollar value

416
00:21:01,400 --> 00:21:04,480
Speaker 1: If you visit Blue Apron dot com slash Bobby Cast.

417
00:21:05,000 --> 00:21:06,800
Speaker 1: So check out this week's men. You get your thirty

418
00:21:06,840 --> 00:21:09,720
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00:21:09,840 --> 00:21:12,760
Speaker 1: Bobby Cast Blue Apron Better Way to Cook, And I'm

420
00:21:12,760 --> 00:21:14,320
Speaker 1: gonna tell you it's gonna make your life easier and

421
00:21:14,320 --> 00:21:16,120
Speaker 1: you're gonna look like the greatest chef ever or cook

422
00:21:16,200 --> 00:21:17,880
Speaker 1: or whatever you want to say. But I use Blue

423
00:21:17,880 --> 00:21:19,639
Speaker 1: Apron using all the time make crazy meals that I

424
00:21:19,640 --> 00:21:21,200
Speaker 1: would never be able to make. All right, So there

425
00:21:21,200 --> 00:21:25,480
Speaker 1: you go, Blue Apron dot Com slash Bobby Cast. All right. So,

426
00:21:26,160 --> 00:21:29,240
Speaker 1: I mean there's so much and it's like what interests

427
00:21:29,240 --> 00:21:32,600
Speaker 1: to me are not even like the because you have

428
00:21:33,000 --> 00:21:35,040
Speaker 1: the other number ones too, But some of these songs,

429
00:21:35,480 --> 00:21:37,840
Speaker 1: like I'm such a big Brothers fan, like I've known

430
00:21:37,840 --> 00:21:47,040
Speaker 1: those guys so right this way, so let me tell

431
00:21:47,040 --> 00:21:48,679
Speaker 1: you my brother's story, because I'm sure you have a

432
00:21:48,720 --> 00:21:51,639
Speaker 1: wonderful story too, like by when it comes to people

433
00:21:51,720 --> 00:21:55,880
Speaker 1: that I just enjoy, like that trust is humans, both

434
00:21:55,920 --> 00:21:59,760
Speaker 1: of them. And I know I've known John closer longer

435
00:22:00,040 --> 00:22:02,560
Speaker 1: I've got no No t J A lot closer later.

436
00:22:02,760 --> 00:22:04,679
Speaker 1: T J lives like two doors down from Amy my

437
00:22:04,720 --> 00:22:08,360
Speaker 1: co host Now and so and Lucy Silva's is very

438
00:22:08,600 --> 00:22:10,840
Speaker 1: very close. If you don't love use Silva, you came

439
00:22:10,840 --> 00:22:14,440
Speaker 1: to my friend, this is me. We're calling Lucy or no, no, no, no.

440
00:22:14,480 --> 00:22:18,600
Speaker 1: We have before, Yeah, we have before. So I was

441
00:22:18,640 --> 00:22:22,280
Speaker 1: at a um what they call a morning show boot camp. Okay,

442
00:22:22,320 --> 00:22:24,439
Speaker 1: so they have these and they asked me, They said, hey,

443
00:22:24,440 --> 00:22:26,800
Speaker 1: will you come in and speak at a morning show

444
00:22:26,800 --> 00:22:28,640
Speaker 1: boot camp? But so what it is. It's a bunch

445
00:22:28,640 --> 00:22:31,600
Speaker 1: of radio people and like nerds like myself, And in

446
00:22:31,680 --> 00:22:34,040
Speaker 1: my younger days, I would have given a finger to

447
00:22:34,040 --> 00:22:36,720
Speaker 1: go to this, but they didn't have any money something

448
00:22:36,720 --> 00:22:38,000
Speaker 1: They've never paid for me to go, and I couldn't

449
00:22:38,040 --> 00:22:39,840
Speaker 1: afford it. But it was at the point of my

450
00:22:39,880 --> 00:22:41,680
Speaker 1: career where they were like, hey, would you come speak

451
00:22:41,680 --> 00:22:44,840
Speaker 1: Because I had built my own syndication company, and you know,

452
00:22:44,920 --> 00:22:47,800
Speaker 1: I had risked a lot and I had some fortunate

453
00:22:47,800 --> 00:22:49,520
Speaker 1: things happened because of the risk, and so I'll go

454
00:22:49,560 --> 00:22:52,879
Speaker 1: up and give my story. And after I finished, they

455
00:22:52,880 --> 00:22:54,560
Speaker 1: were like, Hey, these two new guys are gonna come

456
00:22:54,560 --> 00:22:56,159
Speaker 1: and play. Nobody's ever heard of them. They're gonna come

457
00:22:56,200 --> 00:22:58,440
Speaker 1: play for all the radio people. And I'm like, all right, cool, cool, cool,

458
00:22:58,840 --> 00:23:01,760
Speaker 1: and these two two guys, one you know, kind of

459
00:23:02,320 --> 00:23:05,919
Speaker 1: weirdly bearded dude and it's deep, I don't know, some

460
00:23:05,960 --> 00:23:08,480
Speaker 1: other some other other dude to talk, you know, talk

461
00:23:08,600 --> 00:23:11,280
Speaker 1: like this brother's Osmore came up and they just an

462
00:23:11,280 --> 00:23:15,080
Speaker 1: acoustic guitar. One when used the guitar and they came

463
00:23:15,119 --> 00:23:21,920
Speaker 1: up and they dipping, and I was like, these guys

464
00:23:21,920 --> 00:23:23,800
Speaker 1: are good, and like nobody cared because I was paying

465
00:23:23,800 --> 00:23:25,919
Speaker 1: attention because it wasn't the right environment. It wasn't that

466
00:23:25,960 --> 00:23:28,040
Speaker 1: they weren't good, because obviously they are, but it wasn't

467
00:23:28,040 --> 00:23:30,040
Speaker 1: the right environment and they just wanted to get him

468
00:23:30,040 --> 00:23:32,000
Speaker 1: a front of radio people. And it wasn't even country.

469
00:23:32,000 --> 00:23:35,480
Speaker 1: It was like pcent country people, you know, thty percent

470
00:23:35,520 --> 00:23:38,639
Speaker 1: pop u hot a c. It was just everyone and

471
00:23:38,680 --> 00:23:42,480
Speaker 1: nobody cared. And I remember going, man, those guys are good. Yeah,

472
00:23:42,520 --> 00:23:45,600
Speaker 1: they're good there there. I love him. And my son

473
00:23:45,720 --> 00:23:48,160
Speaker 1: is my wife, and she was she loves his voice,

474
00:23:48,200 --> 00:23:51,600
Speaker 1: TJ's voice. And I knew John first because he was

475
00:23:51,680 --> 00:23:53,600
Speaker 1: kind of he was around first, he was around in

476
00:23:53,600 --> 00:23:55,879
Speaker 1: a band, but I really knew him through Lucy because

477
00:23:55,880 --> 00:23:58,359
Speaker 1: I met Lucy. I think she said that I was

478
00:23:58,400 --> 00:24:00,320
Speaker 1: one of the first people she met in that Villain

479
00:24:00,520 --> 00:24:02,919
Speaker 1: I know, I introduced her to Buzzby and several other people,

480
00:24:02,960 --> 00:24:06,240
Speaker 1: and and then she and John were trying to figure

481
00:24:06,240 --> 00:24:08,479
Speaker 1: out if they were going to date, and then they

482
00:24:08,480 --> 00:24:11,040
Speaker 1: were and and so so then through them I met

483
00:24:11,240 --> 00:24:15,960
Speaker 1: t J and the John John and Charlie Worsham were

484
00:24:15,960 --> 00:24:18,080
Speaker 1: in the same band for a while and no one

485
00:24:18,119 --> 00:24:19,800
Speaker 1: could figure out what to do with that. Just think

486
00:24:19,800 --> 00:24:24,440
Speaker 1: about that too, and it's like the Christapleton's and the

487
00:24:24,560 --> 00:24:27,959
Speaker 1: John Singleton's and then just like wait, you didn't know

488
00:24:28,040 --> 00:24:30,840
Speaker 1: what to do with that. It was almost too good

489
00:24:30,920 --> 00:24:33,480
Speaker 1: for people to understand. It confuses them a little bit,

490
00:24:33,480 --> 00:24:35,800
Speaker 1: like whoa this I don't know what this is. It's

491
00:24:35,840 --> 00:24:37,760
Speaker 1: too good. It's like it's like too fireworks that was

492
00:24:37,760 --> 00:24:39,480
Speaker 1: happening at the same time, So you don't know what

493
00:24:39,520 --> 00:24:40,560
Speaker 1: You don't want to look at both of them, so

494
00:24:40,600 --> 00:24:44,119
Speaker 1: you just lower your head. Yeah, which is wild. So

495
00:24:44,400 --> 00:24:47,480
Speaker 1: you wrote wrong with with these fellas on one chord.

496
00:24:48,680 --> 00:24:50,680
Speaker 1: It's one chord all the way through. They're they're doing

497
00:24:50,680 --> 00:24:53,760
Speaker 1: because they're so musical, they're doing different things over it

498
00:24:53,800 --> 00:24:57,800
Speaker 1: in inversions. But basically you could strongly maybe I'd like

499
00:24:57,840 --> 00:25:00,240
Speaker 1: to play like D I got or whatever they time

500
00:25:00,400 --> 00:25:03,040
Speaker 1: the root chord is they maybe in D sharper, But

501
00:25:03,680 --> 00:25:06,960
Speaker 1: if you play an open D through that or whatever

502
00:25:07,040 --> 00:25:09,600
Speaker 1: the one chord is, you can play it through the

503
00:25:09,600 --> 00:25:17,199
Speaker 1: whole song. You would never know you could use words there.

504
00:25:17,200 --> 00:25:21,240
Speaker 1: Should have put words there. What are you thinking that

505
00:25:22,119 --> 00:25:25,040
Speaker 1: would have taken it on up? Yeah? Dang. So that

506
00:25:25,200 --> 00:25:27,000
Speaker 1: was not a number one, but it was. It was

507
00:25:27,160 --> 00:25:29,720
Speaker 1: their introduction. It helped them get to that. They'd had

508
00:25:29,720 --> 00:25:32,080
Speaker 1: one single before that didn't do well. What was the

509
00:25:32,119 --> 00:25:33,960
Speaker 1: song before that? I can't remember. I was trying to

510
00:25:33,960 --> 00:25:36,040
Speaker 1: think of it as afraid you was gonna ask you, Well,

511
00:25:36,119 --> 00:25:40,159
Speaker 1: you were right. Rom was really the first one that

512
00:25:40,160 --> 00:25:44,400
Speaker 1: where they were like actually getting some real like oh

513
00:25:44,440 --> 00:25:47,320
Speaker 1: there may be something to these guys. And and even then,

514
00:25:47,840 --> 00:25:52,639
Speaker 1: I mean it's taken even at my fault was just

515
00:25:52,720 --> 00:25:55,920
Speaker 1: hit ten. That's it. And they are so good, they're

516
00:25:55,920 --> 00:25:59,160
Speaker 1: winning all the awards and there there critically crushing. It's

517
00:25:59,160 --> 00:26:01,920
Speaker 1: like Marin for ex Apple, she doesn't have a number

518
00:26:01,920 --> 00:26:05,800
Speaker 1: one that you know, my church is not number one? Yeah,

519
00:26:05,880 --> 00:26:09,359
Speaker 1: how about that? It doesn't matter. That's true of old

520
00:26:09,480 --> 00:26:14,240
Speaker 1: rock and roll, you know, like oh yeah, was like

521
00:26:15,000 --> 00:26:16,520
Speaker 1: didn't have a number one. I could be rolling about

522
00:26:16,520 --> 00:26:17,920
Speaker 1: which one did, but there's like they didn't have a

523
00:26:18,000 --> 00:26:20,520
Speaker 1: number one till freaking armageddon. I don't want to miss

524
00:26:20,520 --> 00:26:27,800
Speaker 1: a thing. You're talking about rock and Roll Hall of Fame. So, yes,

525
00:26:28,200 --> 00:26:31,159
Speaker 1: there's this thing right where Yes and so and and

526
00:26:31,240 --> 00:26:34,280
Speaker 1: Brothers are in that thing. Now. Yeah, they're good. Everybody

527
00:26:34,280 --> 00:26:36,240
Speaker 1: loves them. They're winning all the awards. When they got

528
00:26:36,240 --> 00:26:40,920
Speaker 1: on the bus, it was in California. The theater off

529
00:26:41,000 --> 00:26:43,919
Speaker 1: the crumbled in, and they were like, we're not letting

530
00:26:43,920 --> 00:26:46,240
Speaker 1: this show going for those who are listening and don't

531
00:26:46,240 --> 00:26:51,120
Speaker 1: know the story. So Brother's rocks hard. I mean they're

532
00:26:51,119 --> 00:26:55,000
Speaker 1: a rock and roll band and they play country songs.

533
00:26:55,040 --> 00:26:57,560
Speaker 1: They're rock and roll band the plays country songs. So

534
00:26:57,800 --> 00:27:00,399
Speaker 1: they're they're playing in this theater in California and the

535
00:27:00,480 --> 00:27:02,720
Speaker 1: roof crumbles in, and they have stopped the show because

536
00:27:02,760 --> 00:27:06,040
Speaker 1: of all the safety hazards. So they go and they're like,

537
00:27:06,200 --> 00:27:08,560
Speaker 1: everybody go outside, and they get on top of their

538
00:27:08,600 --> 00:27:10,639
Speaker 1: tour bus and they play their show on their tour

539
00:27:10,720 --> 00:27:13,160
Speaker 1: bus on the roof of their tour bus. I called

540
00:27:13,200 --> 00:27:15,800
Speaker 1: him and and they're probably take because it was like

541
00:27:16,320 --> 00:27:18,280
Speaker 1: four in the morning where they were because they were

542
00:27:18,320 --> 00:27:20,480
Speaker 1: West coast, because I had to get him on the

543
00:27:20,480 --> 00:27:23,439
Speaker 1: air and talk about this, and I was like, John,

544
00:27:24,200 --> 00:27:25,840
Speaker 1: this is the most rock and roll thing I've seen

545
00:27:25,800 --> 00:27:28,960
Speaker 1: it like the past ten years. First of all the

546
00:27:29,040 --> 00:27:32,000
Speaker 1: roof and then having kind of the wherewithal to go.

547
00:27:32,680 --> 00:27:35,440
Speaker 1: You know what, how can we make this work? This

548
00:27:35,520 --> 00:27:37,679
Speaker 1: about a show for our fans, and we're gonna do it,

549
00:27:37,960 --> 00:27:41,160
Speaker 1: and even just the science of it. Let's get higher

550
00:27:41,200 --> 00:27:43,240
Speaker 1: than are not just play it on the stairs or

551
00:27:43,280 --> 00:27:46,320
Speaker 1: on the street. Let's get up where everybody can still see.

552
00:27:46,520 --> 00:27:48,880
Speaker 1: There were so many levels where I was like, their

553
00:27:48,920 --> 00:27:51,280
Speaker 1: next level. I love them, I mean, and you know,

554
00:27:51,359 --> 00:27:53,679
Speaker 1: t J pretty much tell you what he thinks. Uh,

555
00:27:54,320 --> 00:27:56,560
Speaker 1: for sure, we'll tell you what he thinks. And the

556
00:27:56,640 --> 00:28:00,879
Speaker 1: more he drinks, the more things that that's right. I

557
00:28:00,920 --> 00:28:02,440
Speaker 1: get to write with him, I think. You know, I

558
00:28:02,480 --> 00:28:04,400
Speaker 1: don't know what'll be on the new record, but they

559
00:28:04,480 --> 00:28:06,240
Speaker 1: let me write with him some more. So it was

560
00:28:06,280 --> 00:28:08,320
Speaker 1: really good. I love We had a David Neil cut

561
00:28:08,359 --> 00:28:11,680
Speaker 1: together and you know that kind of thing, and they

562
00:28:11,720 --> 00:28:14,760
Speaker 1: had John and t J on there, but not not

563
00:28:14,840 --> 00:28:19,400
Speaker 1: a lot, you know, I mean, uh, because John is ferocious.

564
00:28:19,520 --> 00:28:22,560
Speaker 1: When I I don't know which song it was at

565
00:28:22,560 --> 00:28:24,840
Speaker 1: this point. Was it twenty one summer or was it?

566
00:28:25,200 --> 00:28:27,399
Speaker 1: But we played a seven minute guitar solo on the record,

567
00:28:28,720 --> 00:28:30,840
Speaker 1: Stay a little longer, Stay a little longer. That's by

568
00:28:30,840 --> 00:28:32,320
Speaker 1: the way he played it was I believe a seven

569
00:28:32,359 --> 00:28:34,800
Speaker 1: minute guitar solo, I know. And I was like, man,

570
00:28:34,840 --> 00:28:37,600
Speaker 1: somebody's crushing this thing. And I talked and that was John,

571
00:28:38,440 --> 00:28:41,040
Speaker 1: and I was like, oh, you play this thing like

572
00:28:41,120 --> 00:28:43,680
Speaker 1: I used my hand. And we were at dinner one

573
00:28:43,760 --> 00:28:46,479
Speaker 1: night and I was talking to him about just guitar.

574
00:28:46,880 --> 00:28:48,960
Speaker 1: And because John does not look like a nerd now,

575
00:28:49,760 --> 00:28:51,920
Speaker 1: he looks like the opposite of a nerd, you know.

576
00:28:51,960 --> 00:28:54,320
Speaker 1: He looks like a cool guy who's almost too cool

577
00:28:54,360 --> 00:28:57,640
Speaker 1: that you're intimidated to go talk to because because he's

578
00:28:57,680 --> 00:29:00,720
Speaker 1: in Denom and he's got this big beer and he's like,

579
00:29:00,800 --> 00:29:04,360
Speaker 1: this guy does not give Yeah, And he was like, man,

580
00:29:04,520 --> 00:29:06,920
Speaker 1: I was the biggest nerd. And I just said in

581
00:29:06,960 --> 00:29:09,280
Speaker 1: my room and we just played guitar all the time

582
00:29:09,360 --> 00:29:12,640
Speaker 1: because I was such a nerd. Yeah, And what a

583
00:29:12,720 --> 00:29:15,680
Speaker 1: way to transform. When I was younger, I had a

584
00:29:15,720 --> 00:29:18,720
Speaker 1: little poster from a magazine. It was a Yamaha and

585
00:29:18,760 --> 00:29:21,280
Speaker 1: I think but I can't remember, may have been Gibson,

586
00:29:21,360 --> 00:29:23,480
Speaker 1: but it said, well, it showed a guy going on

587
00:29:23,520 --> 00:29:25,800
Speaker 1: stage and said, well, others party, do you practice? Now

588
00:29:25,800 --> 00:29:29,080
Speaker 1: it's your turn to play. And I've never thought of

589
00:29:29,080 --> 00:29:31,040
Speaker 1: that when until I saw that, at thought, that's what

590
00:29:31,080 --> 00:29:33,440
Speaker 1: it is. You think of prints same deal? You know

591
00:29:33,520 --> 00:29:36,160
Speaker 1: John mayor to May like he would just go in

592
00:29:36,200 --> 00:29:40,400
Speaker 1: his room. Now there's there's a gift. But I think

593
00:29:40,440 --> 00:29:43,840
Speaker 1: we all have some sort of gift, and it's do

594
00:29:43,960 --> 00:29:46,440
Speaker 1: we take and do we fine tune that gift? And

595
00:29:46,440 --> 00:29:48,640
Speaker 1: how hard do we find tune that gift? Because dear,

596
00:29:48,960 --> 00:29:51,040
Speaker 1: I'm asset in a room and just read books. I was,

597
00:29:51,200 --> 00:29:52,360
Speaker 1: I mean, I got to crabby out of me my

598
00:29:52,360 --> 00:29:56,480
Speaker 1: whole life. Not not anymore. I'm I'm beating people up now.

599
00:29:57,160 --> 00:29:58,720
Speaker 1: But that's what I did. I went to my room

600
00:29:58,720 --> 00:30:00,840
Speaker 1: and read books and wrote. Always said, if I look

601
00:30:00,880 --> 00:30:02,520
Speaker 1: like this in high school, it would have been a

602
00:30:02,560 --> 00:30:05,800
Speaker 1: completely different trajectory. I think I was the last human

603
00:30:06,240 --> 00:30:09,040
Speaker 1: in the eighties to get their growth spurts. So my

604
00:30:09,160 --> 00:30:11,280
Speaker 1: high school I look like, you know, the kid from

605
00:30:11,280 --> 00:30:14,400
Speaker 1: Wonder Years or Doogie Howser my whole time. And so

606
00:30:15,000 --> 00:30:17,800
Speaker 1: you know, it's just funny because now you know, I'll say, well,

607
00:30:17,800 --> 00:30:19,800
Speaker 1: you know when you kind of feel pushed around and

608
00:30:19,960 --> 00:30:21,960
Speaker 1: people kind of look at me because you know, if

609
00:30:22,040 --> 00:30:25,040
Speaker 1: you can't see me, but I'm fat and older guy

610
00:30:25,160 --> 00:30:30,840
Speaker 1: and gray beard and you're not that old. But but

611
00:30:31,160 --> 00:30:35,600
Speaker 1: back then it's not if you're listening like Google, I'm

612
00:30:35,600 --> 00:30:40,760
Speaker 1: a thousand years old Google. Very deep, are you? Thank you? Though?

613
00:30:40,840 --> 00:30:43,840
Speaker 1: Very nice for sweet So anyway, and so I can

614
00:30:43,880 --> 00:30:46,720
Speaker 1: see why you do this. You're so flattering, you're yeah, yeah,

615
00:30:46,880 --> 00:30:52,560
Speaker 1: like what you're from. You're from your a Kansas boy

616
00:30:52,640 --> 00:30:55,160
Speaker 1: right right, born Oklahoma and raised in Pittsburgh, Kansas. Kind

617
00:30:55,160 --> 00:30:58,440
Speaker 1: of your Joplin, Missouri right there in the corner. Yeah,

618
00:30:58,680 --> 00:31:01,440
Speaker 1: that's because in Arkansas, that's where we we go up

619
00:31:01,880 --> 00:31:04,320
Speaker 1: and you go up in that area like jop on

620
00:31:04,440 --> 00:31:07,160
Speaker 1: the Did you watch Ozark at all? Yes? I did

621
00:31:07,280 --> 00:31:09,520
Speaker 1: remind you at home at all? Yeah? Man, it reminded

622
00:31:09,520 --> 00:31:12,920
Speaker 1: me of home. Yeah, and like the real like and

623
00:31:13,000 --> 00:31:14,880
Speaker 1: I say it like I grew up And some people

624
00:31:14,880 --> 00:31:17,320
Speaker 1: don't like the term, but I grew up really white trash. Yeah,

625
00:31:17,560 --> 00:31:19,400
Speaker 1: I understand. And I just say that so people can

626
00:31:19,440 --> 00:31:21,840
Speaker 1: relate to it with I having to explain my circumstance

627
00:31:22,480 --> 00:31:25,600
Speaker 1: and so I've watched the show, I've related more to

628
00:31:26,200 --> 00:31:28,360
Speaker 1: the people that lived there that we're dealing with the

629
00:31:28,400 --> 00:31:31,280
Speaker 1: issues than I did the main caracter. Absolutely I understood him.

630
00:31:31,480 --> 00:31:33,920
Speaker 1: I understood the people that lived there and have these

631
00:31:33,960 --> 00:31:38,280
Speaker 1: few options. Yeah, my options what and and none of

632
00:31:38,320 --> 00:31:40,600
Speaker 1: them are good? None of them are It's like we

633
00:31:40,600 --> 00:31:42,400
Speaker 1: we have only a few options and none of them

634
00:31:42,400 --> 00:31:44,080
Speaker 1: are good. Which option are we going to take? Well,

635
00:31:44,120 --> 00:31:46,800
Speaker 1: I say that I'm wired up for the apocalypse, not

636
00:31:47,000 --> 00:31:48,960
Speaker 1: but if you give me the choice between ice cream

637
00:31:49,000 --> 00:31:51,840
Speaker 1: or pie, you can melt me down. Two good things.

638
00:31:52,000 --> 00:31:54,120
Speaker 1: I can't handle that, two bad things, no problem. I

639
00:31:54,160 --> 00:31:56,240
Speaker 1: can do that all day. And I think that's part

640
00:31:56,240 --> 00:31:58,000
Speaker 1: of that upbringing. You know, you come up tough, and

641
00:31:58,040 --> 00:32:03,400
Speaker 1: you come up not tough, like I'm definitely yeah, we

642
00:32:03,440 --> 00:32:05,280
Speaker 1: know we know to move and get away. But I

643
00:32:05,280 --> 00:32:07,640
Speaker 1: mean more more like, you don't have a lot of things.

644
00:32:07,800 --> 00:32:10,720
Speaker 1: You you stand out because you don't have the nikes

645
00:32:10,840 --> 00:32:12,440
Speaker 1: or the whatever's, you know what I mean? That was

646
00:32:12,440 --> 00:32:14,760
Speaker 1: how I was, you know, I mean, you know, my

647
00:32:14,800 --> 00:32:16,640
Speaker 1: mom made my clothes when I was a little you know,

648
00:32:16,680 --> 00:32:18,320
Speaker 1: I mean that kind of a thing. I was lucky

649
00:32:18,400 --> 00:32:20,760
Speaker 1: that I had that, you know, I mean, but it

650
00:32:20,800 --> 00:32:23,800
Speaker 1: was a different deal, you know, and then my kids

651
00:32:24,200 --> 00:32:27,560
Speaker 1: know it's weird, isn't weird because I don't have any kids,

652
00:32:27,880 --> 00:32:32,000
Speaker 1: and so but i'd like to have kids, and I

653
00:32:32,080 --> 00:32:36,040
Speaker 1: like you grew up with very little, very little, very

654
00:32:36,120 --> 00:32:38,440
Speaker 1: very little. But I think, and you know, when I'm

655
00:32:38,480 --> 00:32:40,320
Speaker 1: running the second book now, and a big part of

656
00:32:40,320 --> 00:32:43,280
Speaker 1: it is a lot of what I don't even like

657
00:32:43,320 --> 00:32:46,200
Speaker 1: to say endured, a lot of what I learned, nice word,

658
00:32:46,960 --> 00:32:53,680
Speaker 1: from being five to twenty two has made me so

659
00:32:53,800 --> 00:32:59,280
Speaker 1: strong that today I'll knock it down like I am.

660
00:32:59,760 --> 00:33:02,560
Speaker 1: It may look tough for a second, it may be

661
00:33:02,600 --> 00:33:05,440
Speaker 1: a daunting task for a minute, but that this is

662
00:33:05,520 --> 00:33:09,479
Speaker 1: nothing like that that I learned like and and I

663
00:33:09,480 --> 00:33:12,160
Speaker 1: can do things and I have learned from it. So

664
00:33:12,880 --> 00:33:16,080
Speaker 1: for me, like if I have kids, like I almost

665
00:33:16,120 --> 00:33:20,040
Speaker 1: feel like they won't get to there's this guilt, like

666
00:33:20,080 --> 00:33:22,000
Speaker 1: if I bring a kid in like I do pretty

667
00:33:22,000 --> 00:33:23,760
Speaker 1: well now, Like I'm a single guy. I got a

668
00:33:23,760 --> 00:33:29,920
Speaker 1: great job, I got a national radio show, so there's

669
00:33:29,920 --> 00:33:32,040
Speaker 1: already a I don't even have kids, and I feel

670
00:33:32,040 --> 00:33:34,600
Speaker 1: guilty that I have kids. So you gotta have that too.

671
00:33:34,600 --> 00:33:36,400
Speaker 1: Now you have some success, how do you teach your

672
00:33:36,480 --> 00:33:39,800
Speaker 1: kids to not be jerks. Yeah, well they unfortunately they

673
00:33:39,920 --> 00:33:42,360
Speaker 1: take after their mother. But I think that's a great point.

674
00:33:42,600 --> 00:33:45,320
Speaker 1: We were just back visiting in Kansas, not for Thanksgiving

675
00:33:45,320 --> 00:33:47,880
Speaker 1: but over the summer, and I had him go over

676
00:33:47,960 --> 00:33:50,240
Speaker 1: and you know, do stuff with my dad and sweep

677
00:33:50,280 --> 00:33:52,400
Speaker 1: the warehouse floor and do the different thing. Do they

678
00:33:52,400 --> 00:33:54,640
Speaker 1: get it or is it like a field trip to them?

679
00:33:54,760 --> 00:33:57,800
Speaker 1: I think it's a field trip for them. But the

680
00:33:57,840 --> 00:34:01,560
Speaker 1: other thing I would say is they pick up from

681
00:34:01,880 --> 00:34:06,200
Speaker 1: me and Gin what matters to us. And it's interesting,

682
00:34:06,240 --> 00:34:08,800
Speaker 1: but they I think they notice that what we respect

683
00:34:08,840 --> 00:34:11,000
Speaker 1: and what we don't respect. I respect people that work hard.

684
00:34:11,040 --> 00:34:13,840
Speaker 1: I respect people that are kind to other people. And

685
00:34:14,120 --> 00:34:17,279
Speaker 1: Jennifer especially feels like you should be involved and help

686
00:34:17,280 --> 00:34:20,120
Speaker 1: other people, and they seem to be doing that, you know,

687
00:34:20,200 --> 00:34:23,279
Speaker 1: And I'm watching Luke Laird's little boys are younger than mine,

688
00:34:23,320 --> 00:34:26,759
Speaker 1: and so you know, they're already acting like their dad

689
00:34:26,760 --> 00:34:29,160
Speaker 1: and their moms. So you're like, they'll probably pick it

690
00:34:29,280 --> 00:34:32,160
Speaker 1: up from you. I mean, for me, what I wasn't

691
00:34:32,200 --> 00:34:35,560
Speaker 1: prepared for was dealing with good you know. I mean,

692
00:34:35,600 --> 00:34:37,560
Speaker 1: I'm kind of wired up, and I think you are too,

693
00:34:37,719 --> 00:34:40,320
Speaker 1: probably just from I've read your book and and and

694
00:34:40,360 --> 00:34:42,640
Speaker 1: so it sounds to me like you're kind of like similar.

695
00:34:42,680 --> 00:34:46,000
Speaker 1: I'm not saying it's the same, but wired up for

696
00:34:46,080 --> 00:34:48,920
Speaker 1: the long haul, you know, like I will show up.

697
00:34:49,040 --> 00:34:53,160
Speaker 1: I will be there. It's what I know. Yeah, it's

698
00:34:53,200 --> 00:34:55,640
Speaker 1: the only thing that I consistently have is that I

699
00:34:55,680 --> 00:34:58,759
Speaker 1: will show up every time we try to take vacations now,

700
00:34:58,760 --> 00:35:01,000
Speaker 1: which is something we never for did, girl, I never

701
00:35:01,160 --> 00:35:04,720
Speaker 1: my my parents would take us on these business trips.

702
00:35:04,760 --> 00:35:06,320
Speaker 1: My dad had to go to with it where you

703
00:35:06,360 --> 00:35:08,680
Speaker 1: would show his products, you know, at the show, and

704
00:35:08,719 --> 00:35:11,280
Speaker 1: he would say, from the interstate, you see those buildings

705
00:35:11,320 --> 00:35:14,680
Speaker 1: over there, that's downtown Dallas, somewhere down over there is

706
00:35:14,680 --> 00:35:19,320
Speaker 1: where John Kennedy was shot, and that's you know, that's

707
00:35:19,360 --> 00:35:21,880
Speaker 1: how we saw That's how we saw Dewlie Plaza or

708
00:35:21,920 --> 00:35:23,719
Speaker 1: those kinds of things that he was. He was trying

709
00:35:23,719 --> 00:35:26,520
Speaker 1: to show it, but he was. You know, my mother

710
00:35:26,680 --> 00:35:29,880
Speaker 1: when he were raised in rural Oklahoma. My dad, my

711
00:35:29,920 --> 00:35:33,680
Speaker 1: grandfather was a sharecropper, so they were they were culturally

712
00:35:33,719 --> 00:35:36,880
Speaker 1: shifting from where they had been. You know. So the

713
00:35:36,960 --> 00:35:40,120
Speaker 1: thing about you too, is that like you're a grinder,

714
00:35:40,680 --> 00:35:44,239
Speaker 1: Like not on grinder, but you're a grinder in that.

715
00:35:45,400 --> 00:35:50,719
Speaker 1: It took you a minute. Oh yeah, because yeah, you

716
00:35:50,800 --> 00:35:53,359
Speaker 1: moved to California first, right, I write songs out there.

717
00:35:53,400 --> 00:35:55,440
Speaker 1: It's amazing. Yeah, you've really Yeah, that's right. When I

718
00:35:55,480 --> 00:35:57,960
Speaker 1: was young, eighteen years old, I've been out there. So

719
00:35:58,000 --> 00:36:00,880
Speaker 1: it's like, you know, at eighteen, we're almost like we

720
00:36:00,960 --> 00:36:03,600
Speaker 1: have got the whole world ahead of it. Who cares

721
00:36:03,600 --> 00:36:06,600
Speaker 1: if we fail, let's just go. But you go, And

722
00:36:07,239 --> 00:36:08,880
Speaker 1: I mean it didn't work out. So you went to

723
00:36:09,040 --> 00:36:10,839
Speaker 1: you went to write like, you know, top four whatever,

724
00:36:10,840 --> 00:36:12,799
Speaker 1: Top forty was at the time at the time, pretty soft,

725
00:36:12,840 --> 00:36:14,640
Speaker 1: but it was yeah, the eighties pop, you know. And

726
00:36:14,640 --> 00:36:18,240
Speaker 1: I was kind of like the worst, like Rick Astley,

727
00:36:18,280 --> 00:36:24,560
Speaker 1: without the credibility and importance. And so I went out

728
00:36:24,600 --> 00:36:27,040
Speaker 1: there and I was doing that thing and and you know,

729
00:36:27,160 --> 00:36:28,840
Speaker 1: really I ran out of brave. I don't have a

730
00:36:28,840 --> 00:36:32,120
Speaker 1: bad story about l A. I got in with the

731
00:36:32,160 --> 00:36:33,960
Speaker 1: top guy at A and M and the time, I mean,

732
00:36:33,960 --> 00:36:36,359
Speaker 1: I just kept hustling and then there was just a

733
00:36:36,400 --> 00:36:39,920
Speaker 1: moment of Thanksgiving. It was Barney's Beanery. I was by myself.

734
00:36:40,200 --> 00:36:43,239
Speaker 1: I had a little brother back home, and uh, and

735
00:36:43,239 --> 00:36:47,040
Speaker 1: I grew up in a very religious conservative religious environment,

736
00:36:47,120 --> 00:36:51,000
Speaker 1: so pursuing pop music in the late eighties was seen

737
00:36:51,040 --> 00:36:54,160
Speaker 1: as the wide way to destruction. So it had created

738
00:36:54,200 --> 00:36:56,319
Speaker 1: a big rift in the family for me to do this.

739
00:36:57,280 --> 00:36:59,600
Speaker 1: So they were like, what are you doing? Yeah, well, yeah,

740
00:36:59,600 --> 00:37:01,440
Speaker 1: there was a period of time back then. I'm I

741
00:37:01,800 --> 00:37:05,480
Speaker 1: think we're through that. But where people would uh, you know,

742
00:37:05,520 --> 00:37:08,000
Speaker 1: there was Christian music, which was not like it is now.

743
00:37:08,040 --> 00:37:10,640
Speaker 1: It was more like a there was some good Christian

744
00:37:10,719 --> 00:37:13,719
Speaker 1: music and but but it was like, there's a secular

745
00:37:13,760 --> 00:37:17,120
Speaker 1: band that big, here's the Christian version of it, and um,

746
00:37:17,920 --> 00:37:22,080
Speaker 1: and I went towards the pop side, and because that's

747
00:37:22,080 --> 00:37:24,440
Speaker 1: where the door opened. It really, that's what it came

748
00:37:24,440 --> 00:37:26,680
Speaker 1: down to. Did you get close at all? Did you

749
00:37:26,680 --> 00:37:30,120
Speaker 1: feel like that? I got pretty I mean I got

750
00:37:30,120 --> 00:37:32,960
Speaker 1: closer than I should have because I was, you know, like,

751
00:37:33,280 --> 00:37:35,680
Speaker 1: I did some songs I played them for there was

752
00:37:35,719 --> 00:37:38,000
Speaker 1: a guy at the Capital, and there was a guy

753
00:37:38,000 --> 00:37:39,920
Speaker 1: at A and M and and the A and M

754
00:37:39,920 --> 00:37:42,279
Speaker 1: guy was like, do three or four more and come back.

755
00:37:42,400 --> 00:37:44,680
Speaker 1: They didn't pay for him, but they and so then

756
00:37:44,719 --> 00:37:46,800
Speaker 1: I went and did those. But that was when I

757
00:37:46,880 --> 00:37:50,080
Speaker 1: kind of ran out of I just ran out of brave,

758
00:37:50,440 --> 00:37:52,600
Speaker 1: you know, And I saw, I went back home, sold

759
00:37:52,640 --> 00:37:54,920
Speaker 1: all the gear, and in retrospect, I kind of went

760
00:37:54,960 --> 00:37:56,719
Speaker 1: into the darkness a little bit, just kind of I

761
00:37:56,760 --> 00:38:00,279
Speaker 1: didn't know that, but I just sort of whatever, you know,

762
00:38:00,320 --> 00:38:01,719
Speaker 1: my dad signed me. He said, if you're going to

763
00:38:01,800 --> 00:38:03,200
Speaker 1: live back here for a while, you're going to go

764
00:38:03,200 --> 00:38:05,880
Speaker 1: to college. I said, picked him. He picked my major,

765
00:38:06,640 --> 00:38:08,239
Speaker 1: and it was just it was it was great to

766
00:38:08,320 --> 00:38:14,760
Speaker 1: let me come back and printing management. Printing management, he said,

767
00:38:14,800 --> 00:38:16,640
Speaker 1: because they're always going to be people who need to

768
00:38:16,680 --> 00:38:22,279
Speaker 1: print checks, which made sense and whatever that was or

769
00:38:22,360 --> 00:38:26,160
Speaker 1: nine and uh so I did those classes and I

770
00:38:26,200 --> 00:38:29,120
Speaker 1: took music classes. You know Jennifer Shot that wrote this

771
00:38:29,200 --> 00:38:33,040
Speaker 1: town still talks about you with Natalie. She's from my hometown.

772
00:38:33,600 --> 00:38:37,160
Speaker 1: My wife and Jennifer Shot cheerleader together. And her father

773
00:38:37,360 --> 00:38:41,440
Speaker 1: was my saxophone instructor from eighth grade until college and

774
00:38:41,840 --> 00:38:45,400
Speaker 1: through college and um so, and I didn't graduate. You know,

775
00:38:45,440 --> 00:38:47,480
Speaker 1: I was never I just was lost. I really was

776
00:38:47,600 --> 00:38:50,920
Speaker 1: just lost. Then I started working at the company and

777
00:38:50,920 --> 00:38:54,520
Speaker 1: and helped grow that and um and there was a

778
00:38:54,640 --> 00:38:58,680
Speaker 1: Christian singer, young lady. Now we're in the nineties and

779
00:38:58,719 --> 00:39:01,920
Speaker 1: I'm helping run that company and doing software and video

780
00:39:02,000 --> 00:39:04,920
Speaker 1: and things like that. And a friend of mine said, Hey,

781
00:39:04,920 --> 00:39:08,480
Speaker 1: there's this one singer in this Christian worship group. You

782
00:39:08,520 --> 00:39:11,560
Speaker 1: should go here. I had a I had a video studio,

783
00:39:11,600 --> 00:39:14,120
Speaker 1: we had animation studios and suits. We had all that

784
00:39:14,160 --> 00:39:17,800
Speaker 1: for this education company. And UM, part of that, I

785
00:39:17,800 --> 00:39:20,480
Speaker 1: would buy little bits of gear that I never could afford.

786
00:39:20,560 --> 00:39:24,160
Speaker 1: You know, the nineties had happened Nirvana, so everybody was

787
00:39:24,200 --> 00:39:26,799
Speaker 1: selling off their drum machines and synths. Well those were

788
00:39:26,840 --> 00:39:29,239
Speaker 1: things I couldn't have afforded back then. So you know,

789
00:39:29,280 --> 00:39:31,160
Speaker 1: i'd buy a land drum and I'd buy a synth.

790
00:39:31,239 --> 00:39:33,719
Speaker 1: And I had a little room. And so I went

791
00:39:33,760 --> 00:39:36,960
Speaker 1: and heard this young lady and and um, so I

792
00:39:37,000 --> 00:39:40,000
Speaker 1: helped with her independent record. Her name was Jennifer Napp

793
00:39:40,160 --> 00:39:43,040
Speaker 1: and uh and so she had an album called wishing Well,

794
00:39:43,040 --> 00:39:46,920
Speaker 1: which became an album called Kansas and it did really well.

795
00:39:47,400 --> 00:39:49,319
Speaker 1: But she didn't know I wrote. I just sort of

796
00:39:49,800 --> 00:39:52,160
Speaker 1: let him use my studio and came in and helped

797
00:39:52,200 --> 00:39:58,680
Speaker 1: mix the indie record and then um, somewhere in there, um,

798
00:39:58,800 --> 00:40:00,480
Speaker 1: we were in town on business. So I came to

799
00:40:00,560 --> 00:40:03,960
Speaker 1: Nashville and I gotten married, and we went to the

800
00:40:03,960 --> 00:40:06,600
Speaker 1: Blue Bird that was amazing. I've never been around. That

801
00:40:06,760 --> 00:40:09,520
Speaker 1: kind of helped me locate my soul again. And then

802
00:40:09,600 --> 00:40:13,840
Speaker 1: we went home and I got called to meet with

803
00:40:13,840 --> 00:40:17,719
Speaker 1: another education company. Maybe it wasn't really headhunting, but it

804
00:40:17,760 --> 00:40:21,920
Speaker 1: was that kind of a scenario. And I told Jennifer

805
00:40:21,920 --> 00:40:23,520
Speaker 1: about it, and we've only been married a year and

806
00:40:23,520 --> 00:40:26,040
Speaker 1: a half, and she said, well, if if that's your passion,

807
00:40:26,760 --> 00:40:29,960
Speaker 1: you know, we should do that. And I laughed and

808
00:40:30,040 --> 00:40:32,960
Speaker 1: she was what And I was like, um um, I

809
00:40:32,960 --> 00:40:35,839
Speaker 1: think it was thirty five. I'm not sure passions. How

810
00:40:35,880 --> 00:40:37,839
Speaker 1: we should do this. You know, I got a good

811
00:40:37,880 --> 00:40:40,920
Speaker 1: job in a small town. I need to be thankful

812
00:40:40,960 --> 00:40:44,680
Speaker 1: for that, you know. And so she kept pushing me,

813
00:40:44,880 --> 00:40:46,400
Speaker 1: what what is it that you wanted to do? What

814
00:40:46,440 --> 00:40:49,080
Speaker 1: did you And I never talked about going to l

815
00:40:49,120 --> 00:40:51,120
Speaker 1: A and I mean she knew generally I had done

816
00:40:51,160 --> 00:40:53,680
Speaker 1: some music. But finally we had a conversation and I said,

817
00:40:53,680 --> 00:40:56,200
Speaker 1: what I really wanted to do was be a songwriter

818
00:40:56,320 --> 00:40:58,560
Speaker 1: and work in the studios. I don't really think I

819
00:40:58,600 --> 00:41:02,200
Speaker 1: had the artistics the artist stick like an artists personality

820
00:41:02,239 --> 00:41:05,960
Speaker 1: on the stage and uh, but I wanted to work

821
00:41:06,239 --> 00:41:08,719
Speaker 1: in that field and and write songs. I love to

822
00:41:08,719 --> 00:41:12,840
Speaker 1: write songs. Now, I didn't think this was a goal

823
00:41:12,960 --> 00:41:16,000
Speaker 1: to pursue. I was just admitting that that had been

824
00:41:16,000 --> 00:41:19,520
Speaker 1: the goal. And um, it may have been a week,

825
00:41:19,560 --> 00:41:21,480
Speaker 1: it could have been two or three weeks. She came

826
00:41:21,520 --> 00:41:22,960
Speaker 1: in and she said, well, you take me on a

827
00:41:23,000 --> 00:41:26,279
Speaker 1: cruise for our second anniversary. And I suggest, ma'amouil, and

828
00:41:26,360 --> 00:41:29,440
Speaker 1: she goes, this is the one and Nashville Songwriters Are Association.

829
00:41:29,920 --> 00:41:32,160
Speaker 1: They had done. They did a song cruise. It was

830
00:41:32,239 --> 00:41:36,920
Speaker 1: like Hugh Prestwood and and uh Ralph Murphy and Steve

831
00:41:36,960 --> 00:41:39,240
Speaker 1: Seskin and a bunch of a bunch of pro writers

832
00:41:39,239 --> 00:41:41,839
Speaker 1: Craig Wiseman, and they would in the morning, while you're

833
00:41:41,840 --> 00:41:45,640
Speaker 1: having breakfast, they would talk about songwriting and then you'd

834
00:41:45,640 --> 00:41:48,640
Speaker 1: go snorkel, rerecord, scooter or whatever you'd normally do on

835
00:41:48,719 --> 00:41:52,680
Speaker 1: your cruise. And so that's what we did. We and

836
00:41:52,760 --> 00:41:55,680
Speaker 1: I sat in the back and took notes. I couldn't

837
00:41:55,719 --> 00:41:58,839
Speaker 1: play the guitar yet, Um I played piano and I'd

838
00:41:58,840 --> 00:42:00,719
Speaker 1: already heard you weren't supposed to do that, So I

839
00:42:00,760 --> 00:42:03,040
Speaker 1: just sat in the back and took notes. Everybody else,

840
00:42:03,080 --> 00:42:05,440
Speaker 1: you know, was kind of the person at the party

841
00:42:05,440 --> 00:42:09,080
Speaker 1: that pulls out their guitar and play songs. I wasn't

842
00:42:09,120 --> 00:42:14,160
Speaker 1: that guy. And so the last day Wiseman and Prestwood

843
00:42:14,200 --> 00:42:16,359
Speaker 1: came over and said, you know, we can't really tell

844
00:42:16,400 --> 00:42:19,200
Speaker 1: whether you are good or you suck, but you're the

845
00:42:19,239 --> 00:42:21,600
Speaker 1: only one who hasn't tried to play as a song.

846
00:42:22,080 --> 00:42:25,279
Speaker 1: And so I played him a song and they said

847
00:42:25,280 --> 00:42:27,200
Speaker 1: you should come to town next month and start coming

848
00:42:27,239 --> 00:42:30,240
Speaker 1: back and forth. And by the way, Wiseman doesn't remember

849
00:42:30,280 --> 00:42:32,520
Speaker 1: this at all, but it was life changing for me.

850
00:42:32,680 --> 00:42:35,200
Speaker 1: So that just does to the kind of impact I

851
00:42:35,239 --> 00:42:38,680
Speaker 1: make when I meet someone. And but I started coming

852
00:42:38,719 --> 00:42:41,120
Speaker 1: back and forth, taking guitar lessons from Ellen Britain here

853
00:42:41,120 --> 00:42:44,960
Speaker 1: in town and going home and practicing and and uh,

854
00:42:45,200 --> 00:42:48,399
Speaker 1: I don't know. We did that for a while how long,

855
00:42:48,920 --> 00:42:51,680
Speaker 1: probably a year maybe two, And then I got signed

856
00:42:52,800 --> 00:42:55,839
Speaker 1: all this. Okay, let's back here. You married her something

857
00:42:55,920 --> 00:42:57,640
Speaker 1: from from your town, and you brought her here and

858
00:42:57,760 --> 00:42:59,759
Speaker 1: she was the instrumental and you getting here. Yes, I

859
00:42:59,800 --> 00:43:02,879
Speaker 1: was married once before, um, when I was very young.

860
00:43:02,880 --> 00:43:06,200
Speaker 1: When I came back um, and when I was very young,

861
00:43:06,239 --> 00:43:08,239
Speaker 1: I'm married. We had a little boy, and then I

862
00:43:08,320 --> 00:43:11,160
Speaker 1: ended up being a single parent raising him full time,

863
00:43:11,239 --> 00:43:14,400
Speaker 1: and and uh, of course my parents were trying to

864
00:43:14,400 --> 00:43:16,279
Speaker 1: help with that too, because I was working, so my

865
00:43:16,280 --> 00:43:19,359
Speaker 1: mom was helping. And so I kind of assumed I'd

866
00:43:19,400 --> 00:43:21,759
Speaker 1: just be single and raise Alex and that's what we do.

867
00:43:21,880 --> 00:43:26,680
Speaker 1: And and um then I met Jin and uh and

868
00:43:26,719 --> 00:43:30,719
Speaker 1: so she really, I mean strangely, she really changed my life. So,

869
00:43:31,080 --> 00:43:33,200
Speaker 1: I mean, it's weird because normally you hear like the

870
00:43:33,239 --> 00:43:35,520
Speaker 1: spouse is like, that's crazy. You've got a good job,

871
00:43:35,560 --> 00:43:38,400
Speaker 1: we've got benefits, you're gonna risk it all go do this.

872
00:43:38,560 --> 00:43:40,880
Speaker 1: I was the guy saying that this is crazy. And

873
00:43:40,920 --> 00:43:42,360
Speaker 1: then we had a well I don't know if you

874
00:43:42,400 --> 00:43:44,040
Speaker 1: know this, but I have a daughter as well, and

875
00:43:44,080 --> 00:43:47,040
Speaker 1: she has special needs. So right in the middle, right

876
00:43:47,080 --> 00:43:50,360
Speaker 1: as we were preparing to do all that signing the

877
00:43:50,400 --> 00:43:52,960
Speaker 1: deal and stuff, you know, we have this baby born

878
00:43:53,080 --> 00:43:56,560
Speaker 1: sixteen weeks early and all that kind of stuff. And uh,

879
00:43:56,920 --> 00:44:00,399
Speaker 1: for me, it was like, Okay, we're done. We got

880
00:44:00,400 --> 00:44:03,839
Speaker 1: a good job, small town, we're locking this down. And

881
00:44:03,880 --> 00:44:06,880
Speaker 1: for Jennifer it was not that way. For her, it

882
00:44:07,040 --> 00:44:08,759
Speaker 1: was we're gonna need to be in a town with

883
00:44:08,800 --> 00:44:12,480
Speaker 1: a children's hospital. Alex needs a better high school. I mean,

884
00:44:13,280 --> 00:44:16,680
Speaker 1: I love my hometown. It's our hometown. But you know,

885
00:44:16,719 --> 00:44:20,480
Speaker 1: Alex was not you know, a football alignment. He was

886
00:44:20,560 --> 00:44:23,160
Speaker 1: a I mean, he was the kid that could quiz

887
00:44:23,200 --> 00:44:26,319
Speaker 1: out of Algebra one and two in sixth grade, That's who.

888
00:44:26,640 --> 00:44:29,520
Speaker 1: And he liked that it was great at it. And

889
00:44:29,600 --> 00:44:33,759
Speaker 1: so I'm looking at that going. You know, at least

890
00:44:33,760 --> 00:44:35,759
Speaker 1: I was angry enough as a kid that I could

891
00:44:35,760 --> 00:44:39,279
Speaker 1: sort of smileth the enough that I could survive. But

892
00:44:39,400 --> 00:44:44,120
Speaker 1: this kid's brilliant and kind. Maybe he needs a different

893
00:44:44,200 --> 00:44:47,640
Speaker 1: educational opportunity than I had, you know. I mean, there's

894
00:44:47,840 --> 00:44:52,080
Speaker 1: there's greatness that comes from loving your environment but also

895
00:44:52,160 --> 00:44:55,200
Speaker 1: knowing how it was hard and shaped you. But there

896
00:44:55,280 --> 00:44:58,200
Speaker 1: is another side that goes I'm not sure every kid

897
00:44:58,280 --> 00:45:00,960
Speaker 1: needs to be put through that, you know what I mean.

898
00:45:01,200 --> 00:45:04,799
Speaker 1: I mean, like I understand what you're saying, Do I

899
00:45:04,880 --> 00:45:08,759
Speaker 1: know what you mean? Not yet? Well, I think you'd

900
00:45:08,760 --> 00:45:10,239
Speaker 1: be I've read your book. I think you'ld be a

901
00:45:10,239 --> 00:45:12,520
Speaker 1: great dad. I mean, but I'm not in charge of

902
00:45:12,560 --> 00:45:15,680
Speaker 1: the scoring of dads. But but you know, you've got

903
00:45:15,719 --> 00:45:17,560
Speaker 1: the heart for it. You you're you want to do

904
00:45:17,640 --> 00:45:21,920
Speaker 1: well and it is amazing how you know. But I

905
00:45:22,040 --> 00:45:25,000
Speaker 1: just anyway, that's how I got into this was going

906
00:45:25,040 --> 00:45:27,840
Speaker 1: back and forth. And then even after I signed my deal,

907
00:45:27,920 --> 00:45:31,680
Speaker 1: even after the first song was on the radio, UM,

908
00:45:31,719 --> 00:45:34,200
Speaker 1: I was like, maybe maybe it's too big a jump

909
00:45:34,239 --> 00:45:36,520
Speaker 1: because everybody at here so great, you know, these raw

910
00:45:36,600 --> 00:45:38,759
Speaker 1: talent people, you know, And what was the first song

911
00:45:38,880 --> 00:45:45,120
Speaker 1: was on the radio for you God's Will with Martina McBride.

912
00:45:45,480 --> 00:45:48,960
Speaker 1: It feel like, man, my song is on the radio,

913
00:45:49,040 --> 00:45:51,360
Speaker 1: Like like, what in the world, I was punt of

914
00:45:51,440 --> 00:45:58,160
Speaker 1: checks cover. You make any money from the song? Yeah? Yeah,

915
00:45:58,200 --> 00:46:01,520
Speaker 1: that album sold couple of million copies and that that

916
00:46:01,640 --> 00:46:04,640
Speaker 1: song got to number sixteen, and um, but for me,

917
00:46:04,719 --> 00:46:08,920
Speaker 1: it was you know, it was also a songwriting lesson

918
00:46:09,000 --> 00:46:12,640
Speaker 1: because you know I I wrote by myself, as I said,

919
00:46:12,680 --> 00:46:14,600
Speaker 1: And so Reba cut a song of mine that I

920
00:46:14,640 --> 00:46:20,680
Speaker 1: wrote by myself. It was called Moving Alida Moviela. It

921
00:46:20,840 --> 00:46:26,920
Speaker 1: was the hardest thing. The nurses son, old woman crying,

922
00:46:28,200 --> 00:46:34,400
Speaker 1: but he saw the love of his life. She don't

923
00:46:34,520 --> 00:46:39,760
Speaker 1: know where she is, but she knows this isn't home.

924
00:46:42,239 --> 00:46:48,879
Speaker 1: Loud is a hard, hard road, still get you. It's

925
00:46:48,920 --> 00:46:52,279
Speaker 1: amazing that she did it. Um And again, I this

926
00:46:52,360 --> 00:46:54,680
Speaker 1: shares a lot of the themes of a lot of

927
00:46:54,719 --> 00:46:56,520
Speaker 1: the songs I've had recorded are that. I didn't think

928
00:46:56,520 --> 00:46:59,719
Speaker 1: anyone would record them. Um. In this case, it's it

929
00:46:59,800 --> 00:47:02,240
Speaker 1: was so personal and so sad. It wasn't even supposed

930
00:47:02,280 --> 00:47:04,600
Speaker 1: to have been played for the publisher. My friend Byron

931
00:47:04,960 --> 00:47:07,120
Speaker 1: burned my schedule a CD that you when you first

932
00:47:07,120 --> 00:47:09,319
Speaker 1: signed a deal, they listened to all your songs. He

933
00:47:09,440 --> 00:47:11,120
Speaker 1: just saw it in the folder and drug it over.

934
00:47:11,800 --> 00:47:14,680
Speaker 1: So they called me from Nashville. I'm still in Kansas

935
00:47:14,800 --> 00:47:16,680
Speaker 1: and they said, hey, well there's a song on here

936
00:47:16,719 --> 00:47:18,640
Speaker 1: about an old woman. It's about halfway done. I had

937
00:47:18,640 --> 00:47:21,359
Speaker 1: a verse in a chorus and I was like, I'm

938
00:47:21,360 --> 00:47:24,560
Speaker 1: not sure. It's called moving Alita or something. And I

939
00:47:24,600 --> 00:47:26,759
Speaker 1: was like, oh, that wasn't so sorry. That was not

940
00:47:26,800 --> 00:47:29,680
Speaker 1: supposed to be on there. And they started. Chris Oglesby

941
00:47:29,719 --> 00:47:31,319
Speaker 1: started let he goes, that's the only one I like.

942
00:47:32,360 --> 00:47:34,400
Speaker 1: I was like ouch, and he was like, no, seriously,

943
00:47:36,040 --> 00:47:37,680
Speaker 1: you need to do I mean it was a CD

944
00:47:37,960 --> 00:47:40,840
Speaker 1: responding of things like that. One told you to like

945
00:47:40,920 --> 00:47:44,759
Speaker 1: something but you like, but you hated the rest. I

946
00:47:44,800 --> 00:47:47,960
Speaker 1: saw the Grammy special that was on sixty years of

947
00:47:48,000 --> 00:47:50,640
Speaker 1: the Gramms. Do you see that Stevie Wonder is on there?

948
00:47:51,040 --> 00:47:53,480
Speaker 1: And they say they're talking about how many times he's

949
00:47:53,520 --> 00:47:57,560
Speaker 1: sung on the Grammys in twenties. Sometimes but he goes, yeah,

950
00:47:57,719 --> 00:48:00,080
Speaker 1: it's been good to me, and I wanted. He's an

951
00:48:00,080 --> 00:48:02,840
Speaker 1: older guy. He's like, but I've never one song of

952
00:48:02,840 --> 00:48:04,560
Speaker 1: the year. That's my goal. I'm gonna try to win

953
00:48:04,640 --> 00:48:08,279
Speaker 1: song of the Year. He's won twenty five Grammys. There

954
00:48:08,320 --> 00:48:10,279
Speaker 1: was a period of four years in the seventies where

955
00:48:10,280 --> 00:48:12,160
Speaker 1: he one album of the year three out of four years,

956
00:48:12,640 --> 00:48:16,040
Speaker 1: different albums, and but all he can think about is

957
00:48:16,200 --> 00:48:19,239
Speaker 1: I never one song of the year. And it probably

958
00:48:19,680 --> 00:48:22,600
Speaker 1: haunts the crap you can tell you can You don't

959
00:48:22,680 --> 00:48:26,240
Speaker 1: get to that without having that in you, good or bad.

960
00:48:27,239 --> 00:48:32,480
Speaker 1: That's the little engine that that's what pushes. It's those

961
00:48:32,520 --> 00:48:36,839
Speaker 1: little things that burn you, burn you. Yeah that's true, man, Yeah,

962
00:48:36,920 --> 00:48:39,440
Speaker 1: so yeah, that's right. So anyway, we moved to Nashville

963
00:48:39,440 --> 00:48:44,480
Speaker 1: after God's Will and uh, but but I went after Yeah,

964
00:48:44,480 --> 00:48:46,160
Speaker 1: it was after that was on the radio, and I

965
00:48:46,200 --> 00:48:48,680
Speaker 1: was gonna say about the writing was so I wrote

966
00:48:48,760 --> 00:48:51,839
Speaker 1: Moving Alita, and I didn't think they should finish it,

967
00:48:52,000 --> 00:48:54,239
Speaker 1: you know, should record it, a demo it, But they

968
00:48:54,239 --> 00:48:58,400
Speaker 1: had me demo it and then um Reba heard it

969
00:48:58,400 --> 00:49:01,080
Speaker 1: and recorded it and I'm super great full. And that

970
00:49:01,280 --> 00:49:03,600
Speaker 1: song then opened the door for Tom Douglas and I

971
00:49:03,680 --> 00:49:06,160
Speaker 1: had to write. I had met him, we'd had coffee once,

972
00:49:06,160 --> 00:49:08,279
Speaker 1: but I would I'd never ask anybody to write, because

973
00:49:08,280 --> 00:49:11,560
Speaker 1: I always felt like that was pretty presumptive, and I

974
00:49:11,640 --> 00:49:16,080
Speaker 1: still do for me and uh but um we wrote,

975
00:49:16,200 --> 00:49:18,799
Speaker 1: and it was all morning. I was throwing every kind

976
00:49:18,800 --> 00:49:23,200
Speaker 1: of clever thought that I thought was country. And then

977
00:49:23,800 --> 00:49:25,680
Speaker 1: he took me to lunch, which you know is the

978
00:49:25,800 --> 00:49:29,239
Speaker 1: sign for you have failed. And so we went to

979
00:49:29,360 --> 00:49:31,480
Speaker 1: lunch and then we went we came back. He goes,

980
00:49:31,560 --> 00:49:33,120
Speaker 1: let's go in for a few more minutes. Is there

981
00:49:33,160 --> 00:49:36,880
Speaker 1: anything else you've been thinking about? I said, well, this

982
00:49:37,040 --> 00:49:39,960
Speaker 1: is not commercial, but I have this idea. And I

983
00:49:40,000 --> 00:49:44,320
Speaker 1: talked about this a song called God's Will. I wrote

984
00:49:44,320 --> 00:49:46,759
Speaker 1: these things in my journal and blah blah blah, and

985
00:49:46,760 --> 00:49:48,239
Speaker 1: he goes, could I see it? And I just tore

986
00:49:48,320 --> 00:49:50,880
Speaker 1: the pages out of my journal and spread them on

987
00:49:50,920 --> 00:49:53,880
Speaker 1: the piano. And that's how he wrote that song. And

988
00:49:53,880 --> 00:49:56,680
Speaker 1: and that was a big life lesson for me as

989
00:49:56,680 --> 00:49:58,720
Speaker 1: a writer, because all of a sudden, I was like, Okay,

990
00:49:58,760 --> 00:50:02,160
Speaker 1: so this is for me. I'm gonna have to put

991
00:50:02,200 --> 00:50:05,720
Speaker 1: myself out there to do this, To take your journal

992
00:50:05,760 --> 00:50:07,880
Speaker 1: and just put it out there, that's about as vulnerable

993
00:50:07,880 --> 00:50:10,640
Speaker 1: as you'd be. Yeah, And so I thought, Okay, well

994
00:50:10,680 --> 00:50:12,680
Speaker 1: that's what this is gonna be. That's gonna be hard,

995
00:50:12,880 --> 00:50:16,040
Speaker 1: and uh, because I was pretty locked up. And I

996
00:50:16,080 --> 00:50:19,080
Speaker 1: know I seem like a free spirit, bohemian kind of guy,

997
00:50:19,160 --> 00:50:22,759
Speaker 1: but I was very locked up and um. But so

998
00:50:22,880 --> 00:50:24,839
Speaker 1: that was the beginning of that journey. And so now

999
00:50:24,920 --> 00:50:28,080
Speaker 1: that's really I do keep all my notes and my

1000
00:50:28,160 --> 00:50:31,440
Speaker 1: scribbles and my journals and and and it's worked the

1001
00:50:31,440 --> 00:50:33,920
Speaker 1: other way to where like when we wrote with Katherine McPhee,

1002
00:50:33,920 --> 00:50:36,160
Speaker 1: you know, after a day or so together, the next

1003
00:50:36,239 --> 00:50:38,080
Speaker 1: day she sat down and opened her journal and we

1004
00:50:38,120 --> 00:50:41,480
Speaker 1: read it together. And so I've been really kind of

1005
00:50:41,520 --> 00:50:44,040
Speaker 1: blessed that artists kind of no, I'm not I'm on

1006
00:50:44,120 --> 00:50:47,400
Speaker 1: your team. You know, I'm here to help you know,

1007
00:50:48,040 --> 00:50:51,840
Speaker 1: So what I'm always some of these songs, you know,

1008
00:50:51,920 --> 00:50:55,719
Speaker 1: weren't massive like radio hits, but that I enjoy. So

1009
00:50:55,800 --> 00:50:58,280
Speaker 1: I know you, Steve More, you guys are both creative.

1010
00:50:58,280 --> 00:51:00,239
Speaker 1: Steve I was just with him, we were doing vocal.

1011
00:51:01,520 --> 00:51:03,520
Speaker 1: One of the nicest guys. He's the best guy and

1012
00:51:03,560 --> 00:51:06,799
Speaker 1: Gracie his wife, like they're just they're good people, right,

1013
00:51:07,360 --> 00:51:20,760
Speaker 1: and so you guys are being so and all the ground.

1014
00:51:21,960 --> 00:51:23,840
Speaker 1: That's a guy who they haven't figured out what to

1015
00:51:23,880 --> 00:51:27,120
Speaker 1: do with yet when they and when they do, that's

1016
00:51:27,239 --> 00:51:30,680
Speaker 1: his trouble because he's that good. He's got fans, he's

1017
00:51:30,719 --> 00:51:35,479
Speaker 1: got you know, he's got the work ethic, he's it's great.

1018
00:51:35,520 --> 00:51:37,680
Speaker 1: We wrote that it's Luke Blaird and Thomas Rhett and

1019
00:51:37,760 --> 00:51:46,719
Speaker 1: I wrote that it's been pretty cool bag he's he's

1020
00:51:46,719 --> 00:51:48,920
Speaker 1: a good guy. And then my co host like, all right,

1021
00:51:48,920 --> 00:51:51,359
Speaker 1: he was wating my COEs like best friends. Okay, all right,

1022
00:51:51,480 --> 00:51:55,759
Speaker 1: yeah complain. So let's see. I mean, you have massive heads.

1023
00:51:55,800 --> 00:51:58,399
Speaker 1: I always tend to go away. The song like day

1024
00:51:58,480 --> 00:52:01,560
Speaker 1: Drinking for a little big time, This is a monster.

1025
00:52:01,760 --> 00:52:03,719
Speaker 1: Number one was this. This is the first song on

1026
00:52:03,800 --> 00:52:06,840
Speaker 1: that album, right, like this is the Yeah, Pontoon was

1027
00:52:06,880 --> 00:52:08,880
Speaker 1: the first single off the one before it, and this

1028
00:52:08,960 --> 00:52:11,359
Speaker 1: was the first one off. Man, how easy is that

1029
00:52:11,360 --> 00:52:13,719
Speaker 1: when you get the first single both times? That's good.

1030
00:52:13,880 --> 00:52:16,600
Speaker 1: That's grateful, you know that. And we there's no waiting

1031
00:52:16,600 --> 00:52:18,200
Speaker 1: around like it's gonna be a single, Like when you

1032
00:52:18,200 --> 00:52:20,359
Speaker 1: get the first single off both Records. We wrote this

1033
00:52:20,440 --> 00:52:23,319
Speaker 1: maybe a year before the album came out. We we

1034
00:52:23,320 --> 00:52:25,000
Speaker 1: we thought, oh, we'll write with them and then we'll

1035
00:52:25,000 --> 00:52:27,239
Speaker 1: write some more with them. That's the only time I

1036
00:52:27,239 --> 00:52:29,520
Speaker 1: wrote with him for that record, and that song I

1037
00:52:29,520 --> 00:52:31,719
Speaker 1: had to sit there for a year, you know. Did

1038
00:52:31,800 --> 00:52:35,279
Speaker 1: you feel like as it was sitting there that there

1039
00:52:35,320 --> 00:52:37,440
Speaker 1: was something to it or as as it in there,

1040
00:52:37,440 --> 00:52:39,640
Speaker 1: the longer agoes the more just kind of was worried.

1041
00:52:39,880 --> 00:52:42,040
Speaker 1: I really was worried. I mean, they have so many

1042
00:52:42,080 --> 00:52:44,799
Speaker 1: great songs, but but they kept saying that's what they

1043
00:52:44,800 --> 00:52:47,040
Speaker 1: were gonna do, and and I think they cut it

1044
00:52:47,080 --> 00:52:48,839
Speaker 1: a few times to get it, you know, I mean

1045
00:52:49,200 --> 00:52:52,439
Speaker 1: the demo, it's very similar to the demo, I mean,

1046
00:52:52,600 --> 00:52:55,800
Speaker 1: which is rare normally j Joyce changes it drastically, certainly

1047
00:52:56,480 --> 00:52:58,920
Speaker 1: made it cooler, but it's very close to the demo.

1048
00:52:59,080 --> 00:53:04,240
Speaker 1: And we again, you know, Troy had the title and

1049
00:53:04,239 --> 00:53:05,920
Speaker 1: when he said it, I kind of gave him the

1050
00:53:05,960 --> 00:53:08,400
Speaker 1: head no, like no, maybe not, and they were like,

1051
00:53:08,440 --> 00:53:13,239
Speaker 1: we love it. I was like, okay, you like it,

1052
00:53:15,840 --> 00:53:18,040
Speaker 1: and she whistled. She was on vocal. She was trying

1053
00:53:18,080 --> 00:53:20,040
Speaker 1: to give herself vocal rest in during the week, you know,

1054
00:53:20,520 --> 00:53:23,440
Speaker 1: and so she did it, and I thought she wanted

1055
00:53:23,440 --> 00:53:25,840
Speaker 1: whistling in the song, so I swung the mic around

1056
00:53:25,840 --> 00:53:28,840
Speaker 1: and we all whistled like crazy people. And later she

1057
00:53:28,920 --> 00:53:30,319
Speaker 1: was like, I was just trying to show you that

1058
00:53:30,680 --> 00:53:33,240
Speaker 1: melody that Troy had played, and I was like, oh,

1059
00:53:33,400 --> 00:53:36,880
Speaker 1: so I'm working on my listening skills, but are they

1060
00:53:37,200 --> 00:53:40,319
Speaker 1: not so good? So how about this one here? Michael

1061
00:53:40,400 --> 00:53:46,879
Speaker 1: Ray think at less. Uh, well that's Thomas Rhett and

1062
00:53:47,120 --> 00:53:54,040
Speaker 1: Jimmy Robbins, John Knight and myself wrote it on the bus. Um,

1063
00:53:54,040 --> 00:53:57,520
Speaker 1: Thomas Thomas's bus as the first of his number one

1064
00:53:57,640 --> 00:54:03,000
Speaker 1: was climbing and so he wasn't there yet. Um and

1065
00:54:03,160 --> 00:54:05,720
Speaker 1: um wait so as Thomas is going on is afraid

1066
00:54:05,880 --> 00:54:07,680
Speaker 1: that first number one but he's paying for three riders

1067
00:54:07,680 --> 00:54:09,839
Speaker 1: on the road with them. Um. He just led us right,

1068
00:54:09,880 --> 00:54:11,680
Speaker 1: We're all on one bus and we all just sort

1069
00:54:11,680 --> 00:54:14,520
Speaker 1: of crammed in there. John Knight wasn't there. John and

1070
00:54:14,600 --> 00:54:18,399
Speaker 1: Jimmy had the It started the little riff and the

1071
00:54:18,440 --> 00:54:23,680
Speaker 1: title and then um, then me and Thomas jumped ontr

1072
00:54:23,760 --> 00:54:26,840
Speaker 1: We jumped on it and and trs on, I have

1073
00:54:26,920 --> 00:54:30,239
Speaker 1: other songs with you. The Suitcase is another one. Yeah,

1074
00:54:30,320 --> 00:54:32,640
Speaker 1: and I think we were in Uh, I feel like

1075
00:54:32,680 --> 00:54:36,040
Speaker 1: we were in Ohio, maybe in Columbus, Ohio when we

1076
00:54:36,080 --> 00:54:39,640
Speaker 1: wrote that, And so did you? Was it like, Okay,

1077
00:54:39,719 --> 00:54:41,120
Speaker 1: where's it gonna go? When you wrote it? Was it

1078
00:54:41,200 --> 00:54:44,160
Speaker 1: a tr song? We thought? So. We knew he was trying.

1079
00:54:44,280 --> 00:54:46,720
Speaker 1: They were trying to get him to get some sexy numbers,

1080
00:54:47,080 --> 00:54:50,200
Speaker 1: and so we thought of sexy number number take back

1081
00:54:50,200 --> 00:54:54,239
Speaker 1: everything I said about you being young, your sexy numbers. All, hey,

1082
00:54:54,400 --> 00:54:58,279
Speaker 1: let's do some sexy numbers. And three. Last night I

1083
00:54:58,320 --> 00:55:02,600
Speaker 1: was watching that Burt Burns bang thing and the guy goes,

1084
00:55:02,920 --> 00:55:05,640
Speaker 1: it was so funky. It was so funky. That's like

1085
00:55:05,760 --> 00:55:08,839
Speaker 1: I know exactly what I just sounded like. And uh,

1086
00:55:08,920 --> 00:55:11,960
Speaker 1: he was like ninety. It was so funky. But we

1087
00:55:12,000 --> 00:55:14,080
Speaker 1: wrote it and then he didn't cut it. So I thought, well,

1088
00:55:14,080 --> 00:55:18,879
Speaker 1: that's probably it. Four years to the week from when

1089
00:55:18,880 --> 00:55:21,160
Speaker 1: we wrote it. It went number one. Four years. Yeah,

1090
00:55:21,200 --> 00:55:23,879
Speaker 1: it's set there. The craziest song can last that long.

1091
00:55:23,920 --> 00:55:27,920
Speaker 1: It's still be cool. I couldn't believe it. Well, Michael

1092
00:55:32,719 --> 00:55:34,960
Speaker 1: was happy, and all your songs are great like years later,

1093
00:55:35,000 --> 00:55:40,839
Speaker 1: He's just it's like wine. Not all my songs like enough.

1094
00:55:41,160 --> 00:55:44,920
Speaker 1: That's what I wrote. Mostly balanced the first few years,

1095
00:55:45,280 --> 00:55:47,120
Speaker 1: you know, because that's what I you know how it

1096
00:55:47,200 --> 00:55:50,800
Speaker 1: is when whatever got you in the game, so to speak,

1097
00:55:51,760 --> 00:55:54,799
Speaker 1: just I think subconsciously reinforcement wise, you're like, well, that

1098
00:55:54,880 --> 00:55:57,680
Speaker 1: must be the thing, you know, Like you wouldn't want

1099
00:55:57,680 --> 00:55:59,719
Speaker 1: to go to Barbra Streissan and say this song not

1100
00:55:59,760 --> 00:56:02,120
Speaker 1: the note. I mean, she's going to do the big note.

1101
00:56:02,600 --> 00:56:06,000
Speaker 1: And that's what bought the house. And so I was

1102
00:56:06,080 --> 00:56:08,400
Speaker 1: really you know, I was killing a lot of people

1103
00:56:08,440 --> 00:56:11,080
Speaker 1: in my songs and it was a high body count,

1104
00:56:11,120 --> 00:56:14,120
Speaker 1: you know, it was like a nineties rap album, and um,

1105
00:56:14,800 --> 00:56:16,239
Speaker 1: but we did. That's why I did. I wrote a

1106
00:56:16,280 --> 00:56:18,839
Speaker 1: lot of songs and then and then if I would

1107
00:56:18,880 --> 00:56:21,319
Speaker 1: write a fun song, we would turn it in. They'd

1108
00:56:21,320 --> 00:56:23,560
Speaker 1: be like, why are you doing that. You don't write

1109
00:56:23,560 --> 00:56:26,760
Speaker 1: the fun songs. You write the heavy songs. The pain magnet,

1110
00:56:27,200 --> 00:56:29,720
Speaker 1: you know. They would say stuff like that. So okay,

1111
00:56:29,800 --> 00:56:32,719
Speaker 1: and then Pontoon hit and then people would show him go,

1112
00:56:32,800 --> 00:56:34,880
Speaker 1: I just see like a summer song. It's just like

1113
00:56:34,920 --> 00:56:38,200
Speaker 1: a fun song. Quicker get put into these little categories

1114
00:56:38,440 --> 00:56:41,600
Speaker 1: just attic and you're like, well, okay, I guess I

1115
00:56:41,640 --> 00:56:43,840
Speaker 1: am the you know, the least fun guy in Nashville.

1116
00:56:43,880 --> 00:56:47,239
Speaker 1: I should write the summer songs. That's funny. So you know,

1117
00:56:47,560 --> 00:56:50,000
Speaker 1: I just, I mean, I pretty much have your whole

1118
00:56:50,000 --> 00:56:53,480
Speaker 1: catalog here. That's not all good. You're right, You're right

1119
00:56:54,080 --> 00:56:56,319
Speaker 1: some of them. I'm just You're like, you don't want

1120
00:56:56,320 --> 00:56:59,319
Speaker 1: to talk about you being nice. But like this song here,

1121
00:56:59,400 --> 00:57:04,000
Speaker 1: I love I love when it was on maren Z

1122
00:57:04,040 --> 00:57:20,800
Speaker 1: because I'm maren Z Pete business Like. I listened to

1123
00:57:20,840 --> 00:57:23,040
Speaker 1: that EP and that record so much. I can't even

1124
00:57:23,080 --> 00:57:24,960
Speaker 1: as the person who talks on the radio, I don't

1125
00:57:24,960 --> 00:57:26,760
Speaker 1: even know what the singles were from a record anymore,

1126
00:57:26,920 --> 00:57:30,440
Speaker 1: because you just because I love the whole album so much. Yeah,

1127
00:57:30,920 --> 00:57:35,760
Speaker 1: that wasn't a single, was it? Okay, it wasn't love it. Yeah,

1128
00:57:35,920 --> 00:57:37,880
Speaker 1: she's great, And you wrote that with her before she

1129
00:57:38,040 --> 00:57:42,400
Speaker 1: was Marion Morris, which was Mary Morris. Yeah. Yeah, Well,

1130
00:57:42,720 --> 00:57:44,760
Speaker 1: and Natalie I know called her. I didn't call her,

1131
00:57:44,760 --> 00:57:46,920
Speaker 1: but I met her and it hurt her, and then

1132
00:57:46,920 --> 00:57:49,920
Speaker 1: I was like, okay, that's just right because she's just magic.

1133
00:57:50,000 --> 00:57:51,920
Speaker 1: And and we wrote a lot of great songs, but

1134
00:57:52,040 --> 00:57:53,640
Speaker 1: its a lot of heavy songs and then a lot

1135
00:57:53,640 --> 00:57:55,960
Speaker 1: of fun songs. It was one about the summer that

1136
00:57:56,040 --> 00:57:59,440
Speaker 1: was fun. And but that one, you know, I feel like,

1137
00:58:00,240 --> 00:58:01,800
Speaker 1: and you did this on the morning, that you make

1138
00:58:01,840 --> 00:58:04,400
Speaker 1: it fun, you make it easy, get everybody comfortable, because

1139
00:58:04,400 --> 00:58:07,800
Speaker 1: it'll it'll go a lot better if everybody's as safe

1140
00:58:07,840 --> 00:58:11,080
Speaker 1: as you can make it, you know. And and and

1141
00:58:11,120 --> 00:58:13,480
Speaker 1: that's how we try to do our our rights, you know,

1142
00:58:13,520 --> 00:58:16,040
Speaker 1: as to try to get everybody loose and everybody knowing

1143
00:58:16,080 --> 00:58:18,640
Speaker 1: how you can. You can be wrong, you can make

1144
00:58:18,640 --> 00:58:21,320
Speaker 1: a mistake if you want to play the shaker or

1145
00:58:21,360 --> 00:58:23,520
Speaker 1: the guitar and you're not a guitar player, that's okay.

1146
00:58:23,600 --> 00:58:27,640
Speaker 1: Let's just have a good time. And and then invariable

1147
00:58:27,640 --> 00:58:31,200
Speaker 1: when you start start doing that, somebody will say it'll

1148
00:58:31,240 --> 00:58:33,200
Speaker 1: it'll fly through the room and you'll see it, you know.

1149
00:58:33,320 --> 00:58:35,640
Speaker 1: And and that's a case where you know, she made

1150
00:58:35,640 --> 00:58:37,800
Speaker 1: some comment about like drunk girls drunk cry, and we

1151
00:58:37,880 --> 00:58:40,960
Speaker 1: were like, yes, And she may have had that as

1152
00:58:41,000 --> 00:58:42,960
Speaker 1: a title, but it didn't she didn't present it in

1153
00:58:42,960 --> 00:58:45,920
Speaker 1: a formal way, and we just chased it, you know,

1154
00:58:46,040 --> 00:58:49,720
Speaker 1: And it was fun. I remember her downstairs doing vocals

1155
00:58:49,760 --> 00:58:53,280
Speaker 1: on the work tape, and I would say, because she's

1156
00:58:53,280 --> 00:58:57,480
Speaker 1: such a good singer, and she works so hard, and

1157
00:58:57,480 --> 00:59:00,200
Speaker 1: and I always wanted her to get to laugh, have

1158
00:59:00,240 --> 00:59:02,240
Speaker 1: more fun, and so I would be like, now, sing

1159
00:59:02,240 --> 00:59:05,200
Speaker 1: it like your best friend in high school, now singing

1160
00:59:05,200 --> 00:59:07,640
Speaker 1: it like you know, we're the girl that was always mean?

1161
00:59:07,680 --> 00:59:10,240
Speaker 1: Do you do you never understand why? Sing it like

1162
00:59:10,320 --> 00:59:13,120
Speaker 1: her now? And we would just and she would change

1163
00:59:13,120 --> 00:59:15,600
Speaker 1: her voice. It was amazing. And then we played a

1164
00:59:15,640 --> 00:59:19,200
Speaker 1: show in London, a little one like not like she's

1165
00:59:19,200 --> 00:59:21,240
Speaker 1: played the big stage over there, but we were just

1166
00:59:21,280 --> 00:59:25,680
Speaker 1: doing a bluebird comes to see to see and and

1167
00:59:25,840 --> 00:59:28,040
Speaker 1: she really, you know, we almost did it, but we did.

1168
00:59:28,080 --> 00:59:29,680
Speaker 1: I've never played it out with her, but it'd be

1169
00:59:29,680 --> 00:59:33,160
Speaker 1: fun to hear her do it live. You know a

1170
00:59:33,280 --> 00:59:35,320
Speaker 1: song that wasn't a number one that if you would

1171
00:59:35,320 --> 00:59:37,480
Speaker 1: have asked me how to bet it was? Is this

1172
00:59:37,520 --> 00:59:45,360
Speaker 1: one from McGraw sing like that's the laster. It's some

1173
00:59:45,480 --> 00:59:47,800
Speaker 1: songs are lasters even though they didn't hit number one.

1174
00:59:49,080 --> 01:00:05,680
Speaker 1: This is the last awesome thing, like me and you

1175
01:00:05,720 --> 01:00:07,960
Speaker 1: where'd that one end up? You know? Three went to

1176
01:00:08,040 --> 01:00:12,040
Speaker 1: number one? Not that I was watching? How fresh? How frustrated?

1177
01:00:12,760 --> 01:00:14,480
Speaker 1: Is there a big difference in getting paid for a

1178
01:00:14,560 --> 01:00:17,760
Speaker 1: three and a one? Not really different than a seven

1179
01:00:17,760 --> 01:00:19,960
Speaker 1: and one? Yes? There is? Where is kind of that

1180
01:00:20,200 --> 01:00:25,080
Speaker 1: five threshold. Always stay in the top five pays about

1181
01:00:25,080 --> 01:00:28,520
Speaker 1: the same. But but but then it's different, you know,

1182
01:00:28,560 --> 01:00:31,400
Speaker 1: after that, what do you have? Because I'm fasting because

1183
01:00:31,680 --> 01:00:33,960
Speaker 1: and then again I have friends who are songimes and

1184
01:00:34,000 --> 01:00:35,360
Speaker 1: I'm not gonna bring up it on there. They tell

1185
01:00:35,360 --> 01:00:37,080
Speaker 1: me how much number one it gets paid, right, so

1186
01:00:37,200 --> 01:00:39,000
Speaker 1: they're like, hey, you split it out by the time

1187
01:00:39,040 --> 01:00:45,919
Speaker 1: you the difference between I think a little Less, which

1188
01:00:45,960 --> 01:00:50,560
Speaker 1: is the number one, and Girls Chase Boys, which is

1189
01:00:50,560 --> 01:00:54,800
Speaker 1: in a different format is getting played all which which

1190
01:00:54,800 --> 01:00:57,880
Speaker 1: song did you make more money off of? Uh, that's

1191
01:00:57,920 --> 01:01:02,640
Speaker 1: a good question. I'm gonna a probably Girls Chase Boys

1192
01:01:02,960 --> 01:01:06,919
Speaker 1: because it did cross It didn't go into the top

1193
01:01:07,000 --> 01:01:11,080
Speaker 1: twenty on top forty, but because it crossed the top forty,

1194
01:01:11,320 --> 01:01:14,800
Speaker 1: if it had just stayed on Adults or Hottie See,

1195
01:01:15,480 --> 01:01:17,800
Speaker 1: it would not make as much as a country song.

1196
01:01:17,880 --> 01:01:20,440
Speaker 1: But but it crossed over and and it played on

1197
01:01:20,480 --> 01:01:23,080
Speaker 1: Hottie Sea up into the top two or three, and

1198
01:01:23,200 --> 01:01:25,640
Speaker 1: so it did really well there. And it's only a

1199
01:01:25,640 --> 01:01:29,120
Speaker 1: three way, so that has a huge factor. Day drinking

1200
01:01:29,280 --> 01:01:32,000
Speaker 1: is a a five way? I think, No, no, a

1201
01:01:32,000 --> 01:01:35,480
Speaker 1: four way. Let me count. I mean, when you get

1202
01:01:35,520 --> 01:01:39,680
Speaker 1: that many people. It's a five way five people drink

1203
01:01:39,680 --> 01:01:42,360
Speaker 1: because it how many of little bit to day drinking.

1204
01:01:42,800 --> 01:01:45,360
Speaker 1: Everybody but Kimberly, I remember telling the story she was

1205
01:01:45,720 --> 01:01:47,840
Speaker 1: was she like cooking another room or something, or she

1206
01:01:47,960 --> 01:01:49,680
Speaker 1: had like a TV show and she did that she

1207
01:01:49,760 --> 01:01:53,360
Speaker 1: was doing. Maybe that's that's the I think she had

1208
01:01:53,360 --> 01:01:56,800
Speaker 1: a thing for that. And you know, I've with with Luke,

1209
01:01:56,840 --> 01:01:59,120
Speaker 1: Troy and I've written with the whole band, which is

1210
01:01:59,400 --> 01:02:02,280
Speaker 1: that's a leg stick, you know thing I like when

1211
01:02:02,360 --> 01:02:04,959
Speaker 1: we write with the Osborne boys, Troy and I will

1212
01:02:05,520 --> 01:02:07,520
Speaker 1: we'll write with them. It's a four way and it's

1213
01:02:07,560 --> 01:02:12,280
Speaker 1: really worth it because Troy so guitar, he's great, Troy

1214
01:02:12,360 --> 01:02:15,320
Speaker 1: vergess Is, you know, he's just a pro. But but

1215
01:02:15,440 --> 01:02:18,000
Speaker 1: he can shift over with John and inspire John and

1216
01:02:18,040 --> 01:02:20,040
Speaker 1: I can work with t J and then we can

1217
01:02:20,080 --> 01:02:23,200
Speaker 1: grow it all together. But so, yeah, speaking of you

1218
01:02:23,280 --> 01:02:32,800
Speaker 1: n tr right together? Didn't didn't tr right this year? Yeah? Afore?

1219
01:02:34,880 --> 01:02:39,439
Speaker 1: I mean, come on, Joe, Joe, Joe dip it. Luke

1220
01:02:39,480 --> 01:02:41,640
Speaker 1: talked about it. I heard part of his podcast, but

1221
01:02:41,640 --> 01:02:43,920
Speaker 1: I didn't hear it all. So yeah, I don't know.

1222
01:02:44,080 --> 01:02:46,400
Speaker 1: He was Luke Laird and me and Thomas Rhett, and

1223
01:02:46,440 --> 01:02:49,920
Speaker 1: we spent all This happens a lot, you know, the

1224
01:02:49,920 --> 01:02:52,320
Speaker 1: first several years I was here. You know, you'd show

1225
01:02:52,440 --> 01:02:54,400
Speaker 1: up and I'd sit down with you and we would

1226
01:02:54,400 --> 01:02:56,479
Speaker 1: come up with a title, and we would outline the song,

1227
01:02:56,920 --> 01:02:58,600
Speaker 1: and then we would write it, and we would spend

1228
01:02:58,680 --> 01:03:01,280
Speaker 1: all days staring at the ceiling ing and there'd be

1229
01:03:01,280 --> 01:03:03,840
Speaker 1: a lot of that behavior. And I'm not against that,

1230
01:03:04,400 --> 01:03:08,280
Speaker 1: but Luke, I think, is the master of kind of going, look,

1231
01:03:08,320 --> 01:03:10,720
Speaker 1: we're recording everything we're doing. If you and I are

1232
01:03:10,760 --> 01:03:12,320
Speaker 1: working on something and all of a sudden we have

1233
01:03:12,320 --> 01:03:16,560
Speaker 1: another idea that we both go and look at. Just

1234
01:03:17,040 --> 01:03:21,400
Speaker 1: save what you have and chase it, it's okay. And um,

1235
01:03:21,440 --> 01:03:23,840
Speaker 1: so we'd spend all day on a very serious idea,

1236
01:03:24,000 --> 01:03:25,960
Speaker 1: much like diamond rings, We've spent all day on some

1237
01:03:26,040 --> 01:03:30,240
Speaker 1: other thing. And about that three o'clock time, UM, we

1238
01:03:30,360 --> 01:03:32,560
Speaker 1: kind of had that feeling like none of us really

1239
01:03:32,560 --> 01:03:34,000
Speaker 1: knows what we want to do with this song. I'm

1240
01:03:34,000 --> 01:03:36,280
Speaker 1: not sure we're in love with this song. Nobody wants

1241
01:03:36,280 --> 01:03:39,120
Speaker 1: to say it, but everybody kind of feels like, I

1242
01:03:39,120 --> 01:03:42,760
Speaker 1: think we've wasted our day. And but then we didn't leave.

1243
01:03:42,800 --> 01:03:44,960
Speaker 1: So we wrote diamond rings. Well, the same thing happened here.

1244
01:03:45,000 --> 01:03:48,040
Speaker 1: We've been working on a real serious song about something

1245
01:03:48,120 --> 01:03:51,800
Speaker 1: God and country music or something like that. And it's

1246
01:03:51,840 --> 01:03:54,840
Speaker 1: like three o'clock and Thomas is a worker. Again you

1247
01:03:54,960 --> 01:03:59,600
Speaker 1: talk about a guy who just goes, and so Luke

1248
01:03:59,680 --> 01:04:03,480
Speaker 1: called but loop and um, Thomas just started kind of

1249
01:04:03,520 --> 01:04:05,000
Speaker 1: singing along, and I was so, I said, did you

1250
01:04:05,040 --> 01:04:08,960
Speaker 1: say nineteen nine? And Luke had on a flannel with

1251
01:04:09,000 --> 01:04:11,720
Speaker 1: a T shirt that had Tracy Lawrence on it face shirt.

1252
01:04:12,120 --> 01:04:15,400
Speaker 1: He goes, Tracy Lawrence nine four like that, and I

1253
01:04:15,440 --> 01:04:19,000
Speaker 1: said guns and Roses or Nevada nine. And so then

1254
01:04:19,360 --> 01:04:21,960
Speaker 1: Thomas redos. My dad was out on the radio and

1255
01:04:22,360 --> 01:04:25,480
Speaker 1: in and so we were like, what would that be,

1256
01:04:25,840 --> 01:04:30,200
Speaker 1: n Mark Chestnut, Joe Diffy, and one of those guys

1257
01:04:30,280 --> 01:04:34,000
Speaker 1: went Joe Joe Diffy, and then the other one was like,

1258
01:04:34,120 --> 01:04:35,720
Speaker 1: let me see a Diffy and I'm like, well, the

1259
01:04:35,760 --> 01:04:39,240
Speaker 1: real Joe Diffy, please stand up. And we're just laughing,

1260
01:04:39,400 --> 01:04:43,120
Speaker 1: having fun, joking around, and we're like, throw something down,

1261
01:04:43,320 --> 01:04:46,320
Speaker 1: you know. We started writing, and he threw down a verse,

1262
01:04:46,480 --> 01:04:49,720
Speaker 1: and then we had had with the little chorus. Second

1263
01:04:49,760 --> 01:04:53,720
Speaker 1: verse obviously didn't take very long, and and then it

1264
01:04:53,840 --> 01:04:55,320
Speaker 1: was kind of the end of the day. Luke went

1265
01:04:55,360 --> 01:04:57,280
Speaker 1: to a thing. I put some bass on it, mixed

1266
01:04:57,280 --> 01:05:00,400
Speaker 1: it out, sent it to tr that and t R

1267
01:05:00,480 --> 01:05:02,800
Speaker 1: sends it to his dad. His dad plays it for

1268
01:05:02,880 --> 01:05:07,120
Speaker 1: Joe Diffy. And that was a Friday. And so on Monday,

1269
01:05:07,240 --> 01:05:10,360
Speaker 1: we're in the studio Luke and I demoing songs and

1270
01:05:10,400 --> 01:05:13,000
Speaker 1: he goes, hey, I gotta leave it lunchtime. I'm supposed

1271
01:05:13,000 --> 01:05:16,040
Speaker 1: to go up to ask app and play songs for

1272
01:05:16,040 --> 01:05:20,240
Speaker 1: for Jason Alden and Michael Knox. And they had only invited,

1273
01:05:20,400 --> 01:05:23,320
Speaker 1: you know, just a few brand name you know writers

1274
01:05:23,400 --> 01:05:27,120
Speaker 1: up there and um. So he laughed, and when he

1275
01:05:27,200 --> 01:05:29,880
Speaker 1: came back, he goes, he won't believe it. I was

1276
01:05:29,920 --> 01:05:33,120
Speaker 1: like what. He goes, they like Joe Diffy and I

1277
01:05:33,160 --> 01:05:36,160
Speaker 1: was like, wait minute, Joe Diffy like from Friday. He

1278
01:05:36,280 --> 01:05:38,560
Speaker 1: was like, well, I went in and they said they

1279
01:05:38,560 --> 01:05:41,400
Speaker 1: need something different tempo, something with a loop on it.

1280
01:05:41,400 --> 01:05:45,160
Speaker 1: It's kind of different. And I thought, because I had

1281
01:05:45,200 --> 01:05:47,640
Speaker 1: by that point, I probably had eighteen Aldane holds. I've

1282
01:05:47,680 --> 01:05:51,240
Speaker 1: been hammering away because I saw Aldane's voice and the

1283
01:05:51,280 --> 01:05:53,000
Speaker 1: way he is. I saw it as a way to

1284
01:05:53,040 --> 01:05:55,960
Speaker 1: have Southern lit you know, in the countryside. So I

1285
01:05:56,000 --> 01:05:58,920
Speaker 1: was sending all these I was being as important as

1286
01:05:58,960 --> 01:06:01,720
Speaker 1: I possibly could, and um, I'm sending it over there

1287
01:06:02,440 --> 01:06:06,120
Speaker 1: and I'm like, wait a minute, what And he was like,

1288
01:06:06,160 --> 01:06:08,880
Speaker 1: I played it just a little work tape and they

1289
01:06:08,880 --> 01:06:11,120
Speaker 1: were like, play it again. I played it again. They

1290
01:06:11,120 --> 01:06:13,000
Speaker 1: were like, I think I'm gonna cut that. Play it again.

1291
01:06:13,120 --> 01:06:15,720
Speaker 1: He played it three times in that room and I

1292
01:06:15,800 --> 01:06:17,880
Speaker 1: was like, there's no way. And then they did and

1293
01:06:17,960 --> 01:06:22,200
Speaker 1: they rocked it out and everything. So so the guy

1294
01:06:22,200 --> 01:06:26,840
Speaker 1: who wrote God's Will is known for pontoon In It's

1295
01:06:26,840 --> 01:06:29,680
Speaker 1: a little different in that and Drug Girls Don't Cry. Yeah,

1296
01:06:29,840 --> 01:06:32,680
Speaker 1: you want to know my my favorite of all your songs? Yes,

1297
01:06:33,400 --> 01:06:35,800
Speaker 1: I know, you do. I do, of course I do. Yeah,

1298
01:06:36,120 --> 01:06:39,520
Speaker 1: you know. It's a little tune near and dear to

1299
01:06:39,560 --> 01:06:41,680
Speaker 1: my heart. Oh no, this could be bad. No, it's

1300
01:06:41,680 --> 01:06:43,880
Speaker 1: not bad at all. A little song you wrote here

1301
01:06:43,880 --> 01:06:57,160
Speaker 1: we go by the way. Yeah. Lindsay was one of

1302
01:06:57,200 --> 01:06:59,120
Speaker 1: the ones. Two. They were like, it's like because Lindsay

1303
01:06:59,120 --> 01:07:00,720
Speaker 1: I did it for a long time. Yes, and it

1304
01:07:00,800 --> 01:07:03,040
Speaker 1: was still very close and she was like, you're gonna

1305
01:07:03,080 --> 01:07:06,480
Speaker 1: love Barry Dean. She was like, some people come in

1306
01:07:06,480 --> 01:07:08,080
Speaker 1: and it's a warm up. It's like, hey, let's see,

1307
01:07:08,080 --> 01:07:10,280
Speaker 1: we'll just talk about music for a second until we

1308
01:07:10,360 --> 01:07:12,680
Speaker 1: kind of get the feel and you know, some of

1309
01:07:12,720 --> 01:07:16,080
Speaker 1: them go and you talk. But she was like, Barry comes,

1310
01:07:16,080 --> 01:07:18,720
Speaker 1: it's over. Like you guys, you're the same, You're just

1311
01:07:18,760 --> 01:07:20,840
Speaker 1: the same. You're gonna love. And she was like, by

1312
01:07:20,880 --> 01:07:23,840
Speaker 1: the way, he I think you heard you Luke Laird

1313
01:07:23,960 --> 01:07:26,960
Speaker 1: and maybe someone who else write. I think it's the

1314
01:07:26,960 --> 01:07:30,600
Speaker 1: three of us. Yeah, no, Lindsay, I don't like drum,

1315
01:07:30,640 --> 01:07:34,680
Speaker 1: but no, she's not on that. Is that a female?

1316
01:07:35,840 --> 01:07:37,240
Speaker 1: It has to be a female. It can't just be

1317
01:07:37,280 --> 01:07:42,520
Speaker 1: you and Luke throw No, because I'm embarrassing, I should

1318
01:07:42,520 --> 01:07:44,080
Speaker 1: know off top of my head. It's okay. It only

1319
01:07:44,080 --> 01:07:48,440
Speaker 1: went to like, so, no, that's not the way it was.

1320
01:07:48,480 --> 01:07:53,000
Speaker 1: Lindsay's gonna kill me. She wrote this song. I guess

1321
01:07:53,040 --> 01:07:55,760
Speaker 1: what she said, you wrote it? Huh? How about that? Anyway,

1322
01:07:56,080 --> 01:07:58,760
Speaker 1: this is my favorite song. That's nice, thank you very much.

1323
01:07:58,800 --> 01:08:01,640
Speaker 1: And you know, we we we hoped it would get

1324
01:08:01,680 --> 01:08:03,360
Speaker 1: cut and then it didn't on the first round, and

1325
01:08:03,360 --> 01:08:04,800
Speaker 1: then she went back in and cut it and we

1326
01:08:04,800 --> 01:08:07,280
Speaker 1: were really happy about that, and it got a raw

1327
01:08:07,360 --> 01:08:10,080
Speaker 1: deal that that's a got a really raw deal. Well,

1328
01:08:10,120 --> 01:08:12,520
Speaker 1: you're champion a lot of people, and we appreciate it.

1329
01:08:12,600 --> 01:08:15,720
Speaker 1: I mean, because we're cheering for the artist. We're excited.

1330
01:08:16,640 --> 01:08:19,000
Speaker 1: Then no, I don't know, like zero, there was nothing,

1331
01:08:19,320 --> 01:08:22,160
Speaker 1: and I was just like, that's such a catchy, fun song.

1332
01:08:22,280 --> 01:08:24,519
Speaker 1: He thought. That's all he needed to see was her

1333
01:08:24,640 --> 01:08:27,639
Speaker 1: smiling and how incredible she is, and that's gonna work

1334
01:08:27,680 --> 01:08:30,160
Speaker 1: a regular We sucked. I mean, it's bad and I

1335
01:08:30,200 --> 01:08:33,000
Speaker 1: said it on there, and then again they I think

1336
01:08:33,000 --> 01:08:36,120
Speaker 1: they've now kind of found what she is and it's like,

1337
01:08:36,240 --> 01:08:38,679
Speaker 1: let her go be her instead of trying to make

1338
01:08:38,680 --> 01:08:42,080
Speaker 1: her this little pop printed but she's not. Yeah, she's

1339
01:08:42,479 --> 01:08:45,679
Speaker 1: she's from Calgary, Canada. What you like the country party

1340
01:08:45,720 --> 01:08:48,559
Speaker 1: Canada with like some rock and roll guitar and let

1341
01:08:48,560 --> 01:08:50,400
Speaker 1: her do her thing. But at the time, you know,

1342
01:08:50,439 --> 01:08:52,840
Speaker 1: it was like, let's put her in a soda shop

1343
01:08:53,120 --> 01:08:57,960
Speaker 1: and and fluff her hair and whatever. They anytime it's winking,

1344
01:08:58,000 --> 01:09:01,040
Speaker 1: I have trouble with it, like pretending, you know, wink wink,

1345
01:09:01,760 --> 01:09:07,240
Speaker 1: look at us here we are who we are now

1346
01:09:07,360 --> 01:09:11,559
Speaker 1: she says wonderful things about she'll probably hear this because

1347
01:09:11,600 --> 01:09:16,559
Speaker 1: I won't tell her about it. And he's wonderful and pissed.

1348
01:09:16,600 --> 01:09:19,120
Speaker 1: I didn't know she wrote this song. Well, you know,

1349
01:09:19,160 --> 01:09:21,040
Speaker 1: I'm not thinking enough. Shut she did, alright, shut me Up,

1350
01:09:21,080 --> 01:09:25,240
Speaker 1: which was one of the song that's the confusing. Well,

1351
01:09:25,520 --> 01:09:27,840
Speaker 1: let's see, I don't know if I have anything any

1352
01:09:27,840 --> 01:09:29,920
Speaker 1: other song. Did you have you seen the Do you

1353
01:09:29,920 --> 01:09:33,920
Speaker 1: watch wrestling at all? It's a kid not that much.

1354
01:09:32,160 --> 01:09:36,280
Speaker 1: You know that now, And you know Luke Lair, I

1355
01:09:36,320 --> 01:09:38,639
Speaker 1: know you guys wonded over that. And did he tell

1356
01:09:38,640 --> 01:09:40,479
Speaker 1: you what I got in for when when I had

1357
01:09:40,560 --> 01:09:42,920
Speaker 1: my first number one, which was Pontoon. He was his

1358
01:09:43,000 --> 01:09:45,400
Speaker 1: tenth number one, and he's one of my is my

1359
01:09:45,439 --> 01:09:49,120
Speaker 1: best friend and h so he loves whole Kogan issue.

1360
01:09:49,160 --> 01:09:51,040
Speaker 1: Now it's the only time I've ever seen him nervous.

1361
01:09:51,720 --> 01:09:55,479
Speaker 1: Was gonna when he met hall Count and Terry and

1362
01:09:56,520 --> 01:09:59,559
Speaker 1: we were down in Key West, and but I arranged

1363
01:09:59,680 --> 01:10:02,640
Speaker 1: for for his Christmas present. You know, Hulk got the

1364
01:10:02,720 --> 01:10:05,040
Speaker 1: first belt and then he had one mate and eighty

1365
01:10:05,120 --> 01:10:08,000
Speaker 1: five and then that was stolen and never has been found,

1366
01:10:08,160 --> 01:10:09,559
Speaker 1: and then he had a new one from eight six

1367
01:10:09,600 --> 01:10:11,880
Speaker 1: to ninety three. I didn't know all this stuff. I

1368
01:10:11,960 --> 01:10:14,679
Speaker 1: just thought I'm gonna get him a Hulk belt, that'll

1369
01:10:14,720 --> 01:10:16,479
Speaker 1: be great. Well, it's harder than you think. And then

1370
01:10:16,520 --> 01:10:18,200
Speaker 1: I had to do the research because I deep dive

1371
01:10:18,280 --> 01:10:20,640
Speaker 1: on weird things and and so the next thing I know,

1372
01:10:20,800 --> 01:10:23,120
Speaker 1: I'm hiring Reggie, the King of Belts, who made all

1373
01:10:23,240 --> 01:10:26,800
Speaker 1: the belts for those for those guys, and saying I

1374
01:10:26,880 --> 01:10:30,040
Speaker 1: want one made just like Hulks eighty five. But I

1375
01:10:30,080 --> 01:10:32,400
Speaker 1: wanted to say Songwriter of the Year because that year

1376
01:10:32,439 --> 01:10:34,040
Speaker 1: he was a b M I and I want to

1377
01:10:34,120 --> 01:10:35,880
Speaker 1: list instead of the bouts, I want to list the

1378
01:10:35,920 --> 01:10:39,680
Speaker 1: ten number ones in their years. So I think it's

1379
01:10:39,720 --> 01:10:42,280
Speaker 1: the only time I've ever actually impressed Luke Lair. He

1380
01:10:42,360 --> 01:10:44,719
Speaker 1: stuck his hand in, he felt around in the president

1381
01:10:44,800 --> 01:10:46,400
Speaker 1: he could tell it was about then he pulled it

1382
01:10:46,439 --> 01:10:48,400
Speaker 1: out and then he was really surprised and very heavy.

1383
01:10:48,800 --> 01:10:50,640
Speaker 1: We should arrange for you to check it out. I

1384
01:10:50,680 --> 01:10:53,720
Speaker 1: mean it probably weighs thirty pounds. That's funny that Luke.

1385
01:10:54,080 --> 01:10:55,960
Speaker 1: Luke's interesting because he came in and I was like,

1386
01:10:56,680 --> 01:10:58,479
Speaker 1: and and again I've got to look a little more

1387
01:10:58,560 --> 01:11:01,080
Speaker 1: since this, but I was like, it was miserable and

1388
01:11:01,160 --> 01:11:04,360
Speaker 1: he and he wasn't. And I had to reach out

1389
01:11:04,400 --> 01:11:08,880
Speaker 1: to Bed to be like, hey, did Luke hate everything

1390
01:11:09,040 --> 01:11:11,840
Speaker 1: that just happened. It's like, no, we're a fantastic time. Well,

1391
01:11:11,880 --> 01:11:13,519
Speaker 1: you're always I don't hear you always saying well I was,

1392
01:11:13,600 --> 01:11:15,360
Speaker 1: I wouldn't have come up and talked to you. Well,

1393
01:11:15,400 --> 01:11:16,960
Speaker 1: we would be the same, would never talked. I would

1394
01:11:16,960 --> 01:11:18,160
Speaker 1: never have to end you. Guys would always be like

1395
01:11:18,920 --> 01:11:20,360
Speaker 1: we would be the same way with you. You know

1396
01:11:20,479 --> 01:11:23,800
Speaker 1: that because because it's we just it's that until you do,

1397
01:11:23,960 --> 01:11:25,800
Speaker 1: and then all of a sudden you're like, oh, if

1398
01:11:25,800 --> 01:11:27,760
Speaker 1: I were to see look now mud hug his neck,

1399
01:11:28,120 --> 01:11:29,760
Speaker 1: I would go up. And but at the time, I

1400
01:11:29,880 --> 01:11:32,400
Speaker 1: was like, this guy hates my guts and he has nothing.

1401
01:11:33,000 --> 01:11:35,439
Speaker 1: And I was so just with Luke. I was I

1402
01:11:35,600 --> 01:11:39,439
Speaker 1: was like, dude, like you like I love him? Yeah,

1403
01:11:39,800 --> 01:11:44,479
Speaker 1: he loves it. Oh, Like I was just I could

1404
01:11:44,479 --> 01:11:47,600
Speaker 1: have done a whole you know show talking about that.

1405
01:11:48,520 --> 01:11:50,519
Speaker 1: And so he took a tour up in New York

1406
01:11:50,560 --> 01:11:53,200
Speaker 1: where they had the old somebody from the original early

1407
01:11:53,320 --> 01:11:57,160
Speaker 1: days giving you a tour of hip hop locations. I

1408
01:11:57,280 --> 01:11:59,240
Speaker 1: have him send you there because he had a ball.

1409
01:11:59,600 --> 01:12:02,400
Speaker 1: He should do that. That's something I can enjoy. I'm

1410
01:12:02,400 --> 01:12:04,559
Speaker 1: trying to figure out what I'm gonna get I don't

1411
01:12:04,560 --> 01:12:07,040
Speaker 1: have family, so it's like, what am I gonna vacation?

1412
01:12:07,200 --> 01:12:08,760
Speaker 1: Maybe I'm not going to NewYork though it's too cold.

1413
01:12:08,760 --> 01:12:11,000
Speaker 1: Maybe I do that nice summer that's perfect. Yeah, do

1414
01:12:11,080 --> 01:12:13,840
Speaker 1: it like early summer before it gets too hot, like

1415
01:12:13,880 --> 01:12:17,280
Speaker 1: Afghanistan or something. But to get out of my commer zone,

1416
01:12:18,120 --> 01:12:20,599
Speaker 1: that would do it. That would hop over to Syria.

1417
01:12:20,760 --> 01:12:25,040
Speaker 1: You could us no no, no, stay completely unsafe. Yeah,

1418
01:12:25,880 --> 01:12:28,400
Speaker 1: just fly no no, no's no US like if I'll

1419
01:12:28,400 --> 01:12:31,680
Speaker 1: do USO again. Yeah, I'm talking about just go and

1420
01:12:31,800 --> 01:12:34,240
Speaker 1: just go and to be like here I am wrapped

1421
01:12:34,280 --> 01:12:37,320
Speaker 1: in an American flag with a kid rock t shirt on.

1422
01:12:38,160 --> 01:12:43,639
Speaker 1: He's like, what a baby, USA, big target my therapists,

1423
01:12:43,680 --> 01:12:46,240
Speaker 1: getting my comfort zone. There's no less it hopping in

1424
01:12:46,240 --> 01:12:48,840
Speaker 1: the Middle East. The big old American flag takes all

1425
01:12:48,880 --> 01:12:52,559
Speaker 1: the comfort right out of it. Yeah, walking the desert.

1426
01:12:53,520 --> 01:12:56,840
Speaker 1: You're right, I really appreciate it. You're coming by the house.

1427
01:12:56,920 --> 01:12:58,680
Speaker 1: Thank you for letting me do this. This is I'm

1428
01:12:58,680 --> 01:13:00,479
Speaker 1: sorry we had to move to You know what what

1429
01:13:00,640 --> 01:13:02,680
Speaker 1: here's the thing. It wasn't a problem. You had a

1430
01:13:02,720 --> 01:13:07,439
Speaker 1: bluebird deal, right if you had committed to Yeah, surprised bluebird. No,

1431
01:13:07,560 --> 01:13:11,160
Speaker 1: I have embarrassed some an older gentleman in our in

1432
01:13:11,240 --> 01:13:15,320
Speaker 1: our church. He texted me on you know that Monday night, Hey,

1433
01:13:15,800 --> 01:13:18,200
Speaker 1: thinking about trying to get into your Wednesday show at

1434
01:13:18,240 --> 01:13:21,600
Speaker 1: the Bluebird. And I thought, oh, darn it, he's not

1435
01:13:21,760 --> 01:13:24,880
Speaker 1: reading the calendar, you know, he's older. And I look

1436
01:13:24,960 --> 01:13:27,439
Speaker 1: on there and there's my name. I was like, oh god,

1437
01:13:29,760 --> 01:13:31,800
Speaker 1: I can't hate the Blueberry. You can't hate on the Bluebird. Well,

1438
01:13:31,800 --> 01:13:33,640
Speaker 1: I appreciate you coming buy. Thank you for letting me

1439
01:13:33,640 --> 01:13:35,400
Speaker 1: bet a cool you got a cool story? Anything you

1440
01:13:35,439 --> 01:13:37,200
Speaker 1: need to let me know that. I try to write

1441
01:13:37,240 --> 01:13:39,680
Speaker 1: something you like. Write me something I like? All right,

1442
01:13:39,760 --> 01:13:42,479
Speaker 1: just something you like? Yeah, write me something I like?

1443
01:13:42,680 --> 01:13:47,920
Speaker 1: And over Barry Dean and are you on the old

1444
01:13:48,000 --> 01:13:51,280
Speaker 1: Insta twitters? I am yeah. They changed me. I'm now

1445
01:13:52,160 --> 01:13:55,800
Speaker 1: im the MR. It's why wait, why can't you be

1446
01:13:55,880 --> 01:13:58,120
Speaker 1: Buried Dean? Does there already? There's already Barry Dean. I

1447
01:13:58,240 --> 01:14:01,160
Speaker 1: was called country Paper for Oh you had a name

1448
01:14:01,200 --> 01:14:03,320
Speaker 1: that wasn't Bury, Yeah, and they made me buried. I

1449
01:14:03,360 --> 01:14:05,720
Speaker 1: asked to be just Bury Dean, but they said I

1450
01:14:05,800 --> 01:14:07,479
Speaker 1: had to be the Bury Dean. So now I had

1451
01:14:07,600 --> 01:14:10,360
Speaker 1: the Bery Dean. I've tried to get Bobby Bones and

1452
01:14:10,520 --> 01:14:14,040
Speaker 1: some guy thats like eighty followers. He doesn't even tweet,

1453
01:14:14,840 --> 01:14:17,760
Speaker 1: does nothing, and I can't have it. And I know

1454
01:14:17,920 --> 01:14:20,240
Speaker 1: I can't be a squatter and just roll into town

1455
01:14:20,320 --> 01:14:24,360
Speaker 1: and take over the neighborhood. But still, but still, I've

1456
01:14:24,400 --> 01:14:26,160
Speaker 1: offered a money for it, and he won't do it.

1457
01:14:26,360 --> 01:14:28,479
Speaker 1: My show for a birthday President get pulled their money

1458
01:14:28,479 --> 01:14:30,360
Speaker 1: and offered the money for it. They won't do it.

1459
01:14:30,520 --> 01:14:32,640
Speaker 1: If anyone out there, he lives in Virginia Beach too,

1460
01:14:32,680 --> 01:14:34,040
Speaker 1: which is the one of the markets that I meant,

1461
01:14:34,200 --> 01:14:37,880
Speaker 1: And I'm guessing people call him Rob probably right, but

1462
01:14:37,960 --> 01:14:42,080
Speaker 1: they probably Robert the way so using the Spanish name.

1463
01:14:43,080 --> 01:14:45,680
Speaker 1: Uh well, it's it's. It's been really good to hang

1464
01:14:45,720 --> 01:14:48,280
Speaker 1: out with the imagia, right, thanks for having episode ninety

1465
01:14:48,439 --> 01:14:50,680
Speaker 1: And like you said before we got going here, that's

1466
01:14:50,680 --> 01:14:53,160
Speaker 1: a lot of episodes and it's a lot you followed,

1467
01:14:53,240 --> 01:14:57,920
Speaker 1: Chris Templeton, I know, no fressure, no pressure. We got

1468
01:14:57,960 --> 01:15:00,639
Speaker 1: a lot of subscribers. I've written with that, I've written

1469
01:15:00,680 --> 01:15:05,000
Speaker 1: with that guy, Timmycrocot one of our songs, but it

1470
01:15:05,000 --> 01:15:08,559
Speaker 1: didn't make the record. You know a lot of people

1471
01:15:08,640 --> 01:15:11,360
Speaker 1: have been like man, not a lot some my friends

1472
01:15:11,400 --> 01:15:15,200
Speaker 1: are like right with Chris back and they good all day,

1473
01:15:15,479 --> 01:15:17,360
Speaker 1: and the day seemed to get better. Now now the

1474
01:15:17,439 --> 01:15:20,559
Speaker 1: bigger he gets, the better the times were with them

1475
01:15:21,479 --> 01:15:23,040
Speaker 1: because back and it was like, Chris has got a

1476
01:15:23,080 --> 01:15:24,920
Speaker 1: song out, we have weas to ride. Yeah, it was

1477
01:15:25,240 --> 01:15:27,120
Speaker 1: I wrote with a Courtyard Hounds, you know, the Dixie

1478
01:15:27,200 --> 01:15:31,240
Speaker 1: Chicks in the Courtyard Hounds, and without Nat, without Natal,

1479
01:15:31,479 --> 01:15:34,439
Speaker 1: called the Courtyard Hounds, and we're writing. And the next

1480
01:15:34,560 --> 01:15:36,519
Speaker 1: day they say, hey, we're getting the right with this

1481
01:15:36,600 --> 01:15:40,559
Speaker 1: guy tomorrow. Chris Stapleton is before he had obviously become

1482
01:15:40,640 --> 01:15:43,880
Speaker 1: the Chris Stapleton and I was like, oh my gosh,

1483
01:15:43,920 --> 01:15:45,680
Speaker 1: she was just in here the other day. He is

1484
01:15:45,760 --> 01:15:48,439
Speaker 1: and I listed more again and how amazing she is,

1485
01:15:48,479 --> 01:15:51,840
Speaker 1: how amazing he is, everything about him, And I said, also,

1486
01:15:51,960 --> 01:15:53,320
Speaker 1: I don't know if you know that, but he sings.

1487
01:15:54,040 --> 01:15:57,120
Speaker 1: It's so loud, but it's so controlled, but it's powerful.

1488
01:15:57,120 --> 01:16:00,200
Speaker 1: He was upstairs with Luke last week and no thing

1489
01:16:00,240 --> 01:16:02,559
Speaker 1: else in the building. You know, we didn't mind because

1490
01:16:02,600 --> 01:16:04,880
Speaker 1: it was amazing, but you know, he was singing it.

1491
01:16:05,640 --> 01:16:08,360
Speaker 1: The next day I run into him at lunch and

1492
01:16:08,479 --> 01:16:11,840
Speaker 1: Chris goes, hey, man, uh, they told me you said,

1493
01:16:11,840 --> 01:16:15,760
Speaker 1: I sing really loud. That's the only part. Give an

1494
01:16:15,840 --> 01:16:19,040
Speaker 1: hour of why he's amazing, And all they told him was, yeah, Berry,

1495
01:16:19,040 --> 01:16:23,880
Speaker 1: since you sing really luve that was great, Okay, we're out.

1496
01:16:24,439 --> 01:16:27,519
Speaker 1: PC Barry tell him, I said hello, cool to I

1497
01:16:27,600 --> 01:16:29,160
Speaker 1: tell you all right, We'll see you next time. Everybody

1498
01:16:29,160 --> 01:16:29,640
Speaker 1: I've said night,